^ 


UC-NRLF 


B   ^   SIE   173 


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Fig.  12.    Ready  to  sit. 


A  SYSTEM  OF 

PHTSICAI  CUITTJRE 

PREPARED  EXPRESSLY  FOR 

1 

PUBLIC   SCHOOL  WORK 

BY 

ILiOXJISS     ^I^EEOE 

ANALTSED  AND  ARRANGED  BY 

LOTJISE    OILIMA^J^    KIEHLE 

INSTRUCTOR  IN  PHYSICAL  CULTURE  IN  THE  UNIVERSITY  OF  MINNESOTA 
ILLUSTRATED  BY 

ILiOTJISE    FREECE 

WITH  ONE   HUN'DRED  AND  EIGHTY  ILLUSTRATIONS  AND  FIFTY  CUTS 


SYRACUSE,  N.  Y.  ,  • .      , 

C.  W.  BARDEEN,   PUBLISHER 
1894 


Copyright,  1894,  by  Louise  Prkece 


>  I  CATION  DEP^^ 


PREFACE. 


The  demand  of  teachers  and  others  for  the  analysis  of  "  Physical 
Culture  for  Public  Schools",  by  Louise  Preece,  has  led  to  this 
work. 

Every  exercise  can  be  taken  by  the  pupils  when  standing  in  the 
aisles  beside  their  seats.  The  writer  has  aimed  to  make  the 
explanations  clear,  but  at  the  same  time  as  brief  as  possible,  that 
the  directions  may  be  easily  followed  without  wading  through 
ranch  abstract  matter. 

Although  no  written  work  can  take  the  place  of  a  living  teacher, 
it  is  hoped  that  this  analysis  will  nevertheless  be  of  assistance  to 
those  who  have  never  before  studied  Physical  Culture,  until  they 
may  have  the  instruction  of  a  competent  teacher. 

The  directions  throughout  have  been  addressed  to  public  school 
teachers,  but  the  plan  of  work  is  adapted  to  all, — men,  women  and 
children,  of  all  ages  and  conditions. 

L.  G.  K. 


54  1248 


CONTENTS. 


Pagb 

Intkoduction,            ------  9 

Elementary  Work,        -            -             -            -            -  17 

Advanced  Course,  Chorography   Work,                -            -  131 

Esthetic  Work,             -            -            -            -            -  163 

Gesture,        .......  i 

Pantomime,          -            -            -            -            -             -  xvii 


PHYSICAL  CULTURE. 


INTRODUCTION. 


"Let  us  not  always  say, 
'  Spite  of  this  flesh  to-day 

I  strove,  made  head,  gained  ground  upon  the  whole  I ' 

As  the  bird  wings  and  sings, 

Let  us  cry,  '  All  good  things 

Are  ours,  nor  soul  helps  flesh  more,  now,  than  flesh  help  soul  I ' " 

Robert  Browning. 

The  new  education  calls  for  the  systematic  and  equal  develop- 
ment of  head,  hand  and  heart.  The  awakening  and  training  of 
all  the  senses  and  faculties  is  alone  true  education.  Nature 
demands  activity  of  the  entire  person, — muscular,  mental  and 
spiritual.  The  soundest  mind,  the  purest  emotions  can  find  freest 
expression  only  in  the  strong,  healthy  and  naturally  developed 
body. 

The  theory  that  culture  of  the  whole  being  is  gained  by  training 
the  intellect  alone,  has  been  abandoned,  as  it  well  deserves.  The 
physical  nature  should  be  trained  in  perfect  harmony  with  the 
intellectual  and  moral  natures,  so  that  the  mind  may  find  free 
expression  in  thought,  feeling,  and  act. 

Conditions. 

The  work  should  be  such  as  will  appeal  to  the  sense  of  the 
bsautiful,  combining  both  strength  and  freedom  of  movement. 

(9) 


10  Physical   Culture 

The  attitudes  called  for  in  the  exercises  should  be  such  as  are 
prompted  by  a  pure  soul  and  noble  impulses.  Exercises  calling 
for  incorrect  attitudes,  therefore,  must  be  carefully  avoided.  The 
soul  speaks  by  gesture  of  body  as  well  as  by  word  of  mouth;  and  as 
the  teacher  labors  earnestly  to  have  the  pupil  use  not  only  pure 
and  clean  but  also  correct  language,  just  so  earnestly  should  she 
labor  to  have  his  bodily  expression  of  this  high  and  perfect 
type. 

Assume  an  improper  posture  and  the  sentiment  of  which  it  is 
the  expression  will  more  readily  follow.  On  the  other  hand  a 
bearing  that  is  noble  and  beautiful  will  tend  toward  the  elevation 
of  the  soul. 

The  question  no  longer  is — "  Shall  physical  culture  be  taught  ?  " 
— but,  "  What  system  promises  the  greatest  practical  results  ? " 

A  plan  for  physical  culture  should  be  marked  by  the  following 
characteristics : 

(1)  The  work  must  be  such  as  can  be  done  by  the  pupils  in  the 
school-room  within  the  usual  limitations  of  space  and  time.  Few 
schools  have  large  rooms  without  desks,  but^^in  any  case  it  is  not  best 
to  send  the  pupils  to  another  room  for  their  physical  training ;  for 
not  once  a  day  for  a  half-hour  period,  nor  twice  a  day  in  fifteen- 
minute  periods  is  the  work  to  be  given.  The  teacher  must  fre- 
quently relieve  the  tedium  of  the  school-room  by  admitting  fresh 
air  and  having  the  children  rise  and  take  a  few  vigorous  exercises. 
Or  even  stretching  the  arms  and  shaking  them  vigorously  while 
sitting,  will  divert  this  boy  from  mischief,  and  save  that  girl  from 
sinking  languidly  in  her  seat. 

(2)  The  exercises  must  be  such  as  can  be  conducted  in  a  syste- 


iNTKODUCrriON  11 

matic,  orderly  manner,  without  causing  confusion  among  the 
pupils.  The  school  should  be  in  better  order  after  the  exercises 
than  before. 

(3)  The  exercises  must  be  such  as  do  not  demand  a  change  of 
dress. 

(4)  Taming  now  to  the  physiological  side  of  the  work, — the 
exercises  given  must  be  of  real  value  in  building  up  the  body  in 
health  and  strength,  and  must  be  such  as  help  in  acquiring  a  cor- 
rect carriage.  There  should  be  no  tricks^  diflScnlt  to  learn  and 
easy  to  do  after  they  are  learned,  yet  of  no  value  in  physical  devel- 
operaent. 

The  child  spends  from  five  to  seven  hours  a  day  in  the  school- 
room, for  five  days  in  the  week,  nine  months  in  the  year,  for  from 
ten  to  fifteen  years  of  his  life.  If  he  learns  correct  ways  of  sitting, 
standing  and  walking,  and  practices  them  during  this  long  period 
of  discipline,  the  habits  will  surely  be  formed  for  all  his  life.  If, 
on  the  other  hand,  he  acquires  incorrect  habits  at  this  time,  they 
wilt  become  so  firmly  established  that  it  will  be  very  difficult,  if 
not  impossible  for  him  to  change  his  matured  nature  later  in  life. 

Suggestions. 

Teachers,  should  yon  not  recognize  your  responsibility  for  the 
physical  as  well  as  for  the  intellectual  development  of  the  children 
under  your  care  ?  Inspire  your  children  with  a  love  for  the  true, 
the  good,  the  beautiful ;  teach  them  to  glorify  God  with  their  bodies, 
by  making  them  what  he  would  have  them — strong  and  straight. 

Interest  is  essential  to  success.  If,  then,  you  would  be  success- 
ful in  your  physical  culture  work  with  your  pupils,  you  should 
make  them  see  the  importance  of  the  training,  and  make  it,  withal, 


12  Physical  Culture 

a  delightful  exercise  to  tbem.     Any  work  is  profitable  in  develop- 
ment and  culture  only  as  its  performance  is  pleasurable. 

Appeal  to  as   many   sides   of   the  pupil's   nature   as   possible. 
Whenever  you  can,  use  lively  music. 


THE  NECESSITY  FOR  SYSTEMATIC  EXERCISE. 


The  human  body  is  covered  with  a  net-work  of  muscles,  every 
one  of  which  was  made  for  use.  In  order  to  keep  them  in  a  healthy 
normal  condition  they  must  be  used. 

The  occupations  of  daily  life  call  into  play  certain  sets  of 
muscles  much  more  frequently  than  others.  Use  strengthens 
them ;  and  the  strength  and  contracting  power  of  a  muscle  is  in 
proportion  to  its  use.  The  tendency  is  toward  the  use  of  too 
few  of  the  muscles  of  the  body.  The  man  who  walks  correctly 
uses  not  alone  the  muscles  of  the  legs,  but  of  the  back,  the 
sides,  the  chest,  and  indeed  of  the  entire  body.  When  control  of 
muscles  has  been  lost  by  non-use  it  must  be  regained  by  special 
effort.  The  muscles  must  be  made  to  do  this  work  of  supporting 
the  body,  and  not  leave  it  to  the  bones. 

The  bones  as  well  as  the  muscles  are  dependent  upon  exercise 
for  health.  In  order  to  keep  the  joints  in  a  perfect  state  of  health 
they  should  also  be  used.  By  exercise  the  cartilage  upon  the 
ends  of  the  bones  is  kept  smooth  and  elastic,  and  a  supply  of  the 
lubricating  fluid  (the  synovia)  is  secreted,  keeping  the  joint  oiled 
and  in  good  condition. 

The  position  of  the  vital  organs  as  found  in  many  persons  is 
below  that  of  their  normal  attitude.     Lifting  the  chest  lifts  the 

(13) 


14  Physical  Culture 

lungs  and  with  them  all  the  other  vital  organs.  Exercifcs  that 
bring  into  play  the  muscles  surrounding  the  vital  organs,  and  that 
increase  the  size  of  the  cavities  containing  them,  do  much  toward 
stimulating  them  to  their  proper  functional  use. 

Apparatus. 

A  plan  for  physical  training  which  does  not  demand  the  use  of 
apparatus  is  to  be  preferred  to  one  which  does ;  for  the  former  is 
a  natural  method  of  development.  The  perfectly  free  movement 
of  tlie  body  is  gained  only  when  there  is  no  weight  in  the  hand. 

The  development  and  training  of  the  hand  is  of  the  greatest 
importance,  and  in  a  natural  method  of  physical  training  this  is 
considered  in  every  exercise. 

Costume. 

A  special  costume  for  the  physical  exercises  is  not  desirable. 
First,  it  is  not  practicable.  Much  valuable  time  would  be  lost  in 
making  the  changes.  Second,  if  freedom  is  necessary  in  making 
the  movements  required  by  the  exercises,  the  same  freedom  is 
necessary  to  enable  the  body  to  move  easily  at  all  other  times. 

The  restriction  imposed  by  the  conventional  dress  of  both  sexes 
is  not  realized  as  it  should  be,  and  as  it  is  when  movements  requiring 
perfect  freedom  are  attempted.  Although  this  is  not  a  treatise  on 
dress  reform,  it  may  well  be  said  that  a  decided  improvement  in 
dress  is  required.  The  sleeves  must  be  made  so  that  the  arms  can 
be  stretched  over  head,  and  the  clothing  must  be  arranged  in  such 
a  manner  that  all  the  muscles  of  the  trunk  of  the  body  are  allowed 
free  play.  The  shoes  must  be  large  enough  to  give  plenty  of 
room  to  the  feet,  and  the  heels  low  enough  to  give  a  firm  base  to 
the  body. 


The  Necessity  foe  Systematic  Exercise  15 

Breathing. 

There  are  two  ways  by  which  to  cultivate  habits  of  correct 
breathing.  The  first  is  by  what  are  generally  known  as  hreaihing 
exercises;  the  second  by  such  vigorous  exercises  of  various  parts 
of  the  body  that  more  air  must  be  taken  into  the  lungs  to  supply 
the  demand. 

Both  these  ways  are  good.  If,  however,  correct  breathing  can 
be  secured  unconsciously  and  indirectly,  as  a  part  of  the  regular 
exercise  it  would  seem  to  be  the  better  way. 


CHAPTER  I. 


"A  beautiful  form  is  better  than  a  beautiful  face." — Emerson. 

GENERAL  POSITIONS  AND  EXERCISES. 

Rest  position.  Sit  well  back  in  the  seat  so  that  the  entire 
spine  is  supported  by  the  back  of  the  seat.  Lean  back ;  relax  the 
hands  in  the  lap  and  cross  the  feet  one  over  the  other.  Rest. 
The  only  part  of  the  body  kept  active  in  the  rest  position  is  the 
chest.  This  is  the  receptive  position  of  the  body.  It  is  a  position 
that  is  to  be  assumed  whenever  possible,  because  it  is  saving  of 
energy.  The  pupil  is  to  sit  at  rest  during  study,  and  the  book 
must  be  held  up  to  avoid  the  dropping  of  the  head. 

Say  to  the  pupil— "Sit  back"  instead  of  "Sit  up".  (Figs.  1 
and  3). 

Active  position.  Bring  the  body  forward  from  the  rest  posi- 
tion making  it  erect.  Place  both  feet  flat  upon  the  floor.  The 
body  is  now  in  a  position  suitable  for  writing. 

Place  both  arms  on  the  desk,  drop  the  eyes,  but  do  not  lower 
the  head.  A  most  injurious  and  incorrect  position  for  writing  is 
one  in  which  the  body  is  turned  sideways,  and  only  one  arm  is 
placed  upon  the  desk.  This  elevates  one  shoulder  and  lowers  the 
other,  while  the  head  is  bent  much  to  one  side  and  the  eyes  are 

(17) 


18  Physical  Culture 

forced  to  focus  differently  upon  the  paper.  (Fig.  2  ;  Figs.  5,  6 
and  7). 

To  gain  familiarity  with  these  two  positions  and  the  changing 
from  one  to  the  other,  take  as  an  exercise  the  changing  from  the 
rest  to  active  position.  Count  as  for  waltz  time ;  thus— (from  rest 
position)  up,  2,  3  ;  wait,  2,  3  ;  back,  2,  3  ;  rest,  2,  3,  etc.,  repeating 
a  number  of  times.  Excepting  for  writing  the  active  position  of 
the  body  may  be  taken  witli  the  feet  crossed,  as  in  rest  position. 

In  coming  forward  to  the  active  position  avoid  making  the 
movements  head  first ;  keep  the.  feet  upon  the  floor,  and  bring  the 
body  to  active  position  with  the  strength  centered  in  the  chest. 

Rising.  The  old  method  of  turning  in  the  seat,  standing,  and 
turning,  can  be  improved.  If  the  seat  is  wide,  and  it  seems  neces- 
sary, let  the  pupil  sit  near  the  aisle  into  which  he  is  to  rise.  If  he 
is  to  rise  into  the  aisle  at  his  right,  the  directions  are  as  follows : 
place  the  toe  of  the  right  foot  out  in  the  aisle;  draw  the  left  foot 
up  a  little  in  front  of  the  seat  (Fig.  8) ;  with  the  left  foot  push 
the  body  out  of  the  seat  onto  the  right  foot.  Rise,  with  the  arms 
falling  to  the  sides,  and  the  body  erect.  (Fig.  9).  Do  not  allow 
the  placing  of  hands  on  the  knees  or  on  the  desk. 

In  rising  from  a  seat  without  the  desk  in  front,  or  from  a  chair, 
the  foot  may  be  placed  either  at  the  side  or  a  little  under  the  seat, 
and  used  to  push  the  body  onto  the  foot  that  remains  in  front.  The 
pupil  is  now  standing  in  front  of  the  seat.  (Fig.  10).  Incorrect  ris- 
ing.    (Fig.  11). 

Accustom  the  pupil  to  rising  from'  either  side  of  the  seat. 
Make  an  exercise  of  the  leg  work  preparatory  to  rising.  Thus  : — 
from  either  the  active  or  the  rest  position  touch  the  toe  to  the 


Rest  Position 


19 


Fig.  1.    Rest  position. 


Fig.  2.    Active  position. 


Fig.  3.    Studying  in  rest  position. 


ift'-ii-t-*ii-<- T ■.-',■  ii-i,-rfntii-K,  riai  ifrfii.1  f, 


-    ...  i:..^a:iTiJii.\ 


Fig.  4.    Active  and  rest  positions. 


(21) 


Fig.  5.    Writing.    (Front  view.) 


Fig.  6.    Writing.    (Side  view.) 


Fig.  7.    Writing.    Incorrect  position. 


Fig.  8.    Eeady  to  rise. 


(23) 


Fig.  9.    Ready  to  rise,  liands  at  side . 


Fig.  10.    Rising  with  and  without  desk  in  li'ont.  Fig.  ll.    Rising  Incorrectly. 


Fig.  12.    Ready  to  sit. 


(25) 


Fig.  13.    First  attitude. 


General  Positions  and  Exercises  27 

side  in  the  aisle,  and  return  it  to  starting  position.  Kepeat  a 
number  of  times,  keeping  time  to  counting. 

Sitting.  Tlie  pupil  is  standing  in  the  aisle  with  the  seat  on  his 
left.  Place  the  left  foot  in  front  of  the  seat ;  throw  the  weight  of 
the  body  toward  the  left ;  and  sit.     Cross  the  feet.     (Fig.  12.) 

Take  as  an  exercise,  leg  work  preparatory  to  sitting.  Thus : — 
standing  in  the  aisle,  place  the  foot  in  front  of  the  seat  and  back 
to  standing  position.     Repeat  with  counting. 

Standing.     Three  positions  of  the  feet. 

1st  attitude;  (military  position)  heels  together,  toes  turned  out, 
weight  equally  divided  between  the  feet.     (Fig.  13). 

2d  attitude;  strong  and  free  leg,  free  leg  in  front.  One  foot  is 
placed  in  front  of  the  other;  the  weight  of  the  body  is  borne  by 
the  back  leg,  the  other  is  entirely  free  (relaxed),  and  is  placed  a 
step  in  advance.  All  the  muscles  on  the  side  of  the  "  strong  leg" 
must  be  kept  strong  to  keep  the  body  in  a  symmetrical  position. 
The  head  is  in  sympathy  with  the  "  strong  leg  ",  *'.  «.,  in  a  direct  line 
over  it.     (Fig.  14.) 

This  is  a  much  more  restful  position  in  which  to  stand  than  the 
Ist  attitude  ;  for,  besides  giving  a  broader  base,  it  allows  one  side 
of  the  body  to  remain  at  rest.  The  weight  must  be  frequently 
changed  from  one  foot  to  the  other,  to  avoid  favoring  one  side. 
This  is  the  position  taken  for  most  of  the  exercises. 

3d  attitude;  strong  and  free  leg,  free  leg  placed  obliquely  back 
touching  toe.  The  weight  of  the  body  when  in  this  position  is 
upon  the  forward  foot,  and  the  body  is  in  an  erect  position  over  it. 
Third  attitude  is  not  taken  for  any  but  the  aesthetic  exercises. 


28  Physical  Culture 

The  Correct  Standing  Positions : 

Head  erect. 

Chest  lifted  and  kept  active. 
Arms  at  side. 

Hips  held  back  and  the  abdominal  muscles  active,  withdraw- 
ing the  abdomen. 
Weight  placed  upon  the  ball  of  the  strong  foot. 
Try  to  be  as  tall  as  possible. 
The  old  command,  "  Hold  the  shoulders  back,"  is  obsolete.     The 
place  for  the  shoulders  is  at  the  side  and  a  position  in  which  the 
shoulder  blades  are  pressed  together  is  unnatural,  hence  incorrect. 
By  lifting  the  chest  the  shoulders  fall  into  their  proper  place. 

With  the  active  chest  the  lungs  are  given  more  room,  and  they 
and  all  the  other  vital  organs  are  raised  to  a  position  more  nearly 
their  normal  altitude.  The  sunken  chest  is  an  evil  only  too  com- 
mon in  children  after  the  age  of  five  or  six  years.  Let  tlie  thought 
be  always  at  the  chest,  in  sitting,  in  standing  and  in  the  exercises. 
(Standing  incorrectly  by  the  desk,  Fig.  15.) 
The  correct  Tralk.  Observe  the  law  for  the  body  in  the  correct 
standing  position.  In  placing  the  foot,  let  the  whole  foot  go  down 
with  the  weight  upon  the  ball.  Let  the  heels  touch  upon  one 
line,  with  the  toes  turned  out.     Thus : 

Walk  with  strength.  Poise  forward.  (For  illustrations  of  the 
walk  see  Chap.  TV.) 

A  common  fault  is  walking  head  first.  Observe  Delsarte's  law 
of  opposition — head  back,  chest  forward,  hips  back,  weight  forward. 


1 

! 

1 

Fig.  14.    Second  attitude. 


Fig.  15.    Standing  by  desk  Incorrectly.      I^ESB 


Fig.  16.    Grolng  up  stairs  Incorrectly. 


.(29) 


Fig.  17.    Going  up  stairs  correctly. 


General  Positions  and  Exercises  31 

The  arms  should  always  be  at  side  unless  they  are  required  in 
active  service.  Never  allow  walking  or  marching  with  the  hands 
on  hips,  arms  crossed  behind  the  back,  or  hands  clasped  in  front. 
When  tliere  is  something  for  the  hands  to  do,  use  them  ;  at  other 
times  they  sliould  be  in  their  natural  position  of  rest,  which  is  at 
side. 

Going  up  stairs.  This  is  an  exercise  in  which  the  body  per- 
forms hard  work.  When  taken  correctly  it  is  not  an  injurious  one, 
but  a  healthful  one.     Let  the  legs  do  the  work. 

Place  the  whole  foot  on  the  stair ;  rise  with  strength,  keeping 
the  head  and  body  erect.     Never  run  up  and  down  stairs. 

(Figs.  16  and  IT). 

Going  down  staii's.  Keep  the  body  erect.  Let  the  whole  foot 
go  down  upon  the  stair,  the  toe  touching  first.    (Figs.  18  and  19). 

The  exercises  in  the  physical  gymnastics  are  all  taken  to  waltz 
time.  When  it  is  possible  to  have  music  let  it  be  lively  but  simple, 
witli  marked  accent  on  the  first  count. 

The  teacher  must  have  the  music  in  herself^  or  she  cannot  hope 
to  do  good  work  with  her  class.  There  is  melody  in  physical 
action  when  rightly  performed,  and  with  the  harmonious  action  of 
the  different  parts  of  the  body  the  absence  of  the  piano  will  not  be 
felt.     Marie  the  time  rhythmically  in  each  movement. 

Stretch  as  far  as  possible  in  each  exercise.  In  nearly  all  of  the 
arm  movements  the  elbow  should  not  be  bent. 

The  movements  must  be  even  throughout;  show  strength  at 
every  point  in  the  exercise.  Avoid  jerks  at  all  times;  a  slow, 
strong  movement  shows  perfect  control,  while  a  quick,  jerky  one 
denotes  weakness.  We  desire  a  system  of  training,  not  of  strain- 
ing the  muscles. 


32 


Physical   Cultuke 


The  "strong  leg"  is  the  leg  that  bears  the  weight. 
The  "  strong  arm"  is  the  active  arm. 
The  "free  leg"  is  the  relaxed  leg. 

Law.  The  strong  arm  and  the  strong  leg  must  be  on  the  same 
side  of  the  body. 

When  both  arms  are  strong,  either  leg  may  be  strong.  This  law 
of  strong  arm  and  strong  leg  is  a  very  important  one  and  is  observed 
all  through  the  work.  (We  meet  with  only  one  exception.)  It 
should  always  be  observed  in  gesture. 

In  all  the  movements  of  the  arm  the  wrist  leads ;  this  gives 
natural  and  unconscious  hand  work.  In  lift- 
ing the  arm  the  hand  is  relaxed  but  the  arm 
stretched  out  as  far  from  the  body  as  possi- 
ble, and  we  have  the  position  of  the  hand 
seen  in  Fig.  20. 

In  lowering  the  arm  the  hand  is  bent  back 
from  the  wrist,  stretching  the  muscles  that 
extend  over  the  palm  ;  see  Fig.  21. 
Move  only  the  part  of  the  body  required  in 
the  exercise  ;  e.  g.  in  an  exercise  calling  for 
the  use  of  arms,  see  that  the  head  and  body 
are  kept  quiet  and  erect. 

Before  beginning  an  exercise  see  that  the 
body  is  in  the  correct  standing  position,  or 
at  least  that  the  effort  is  made  to  take  it  as 
nearly  as  possible.  The  oftener  the  effort  is 
made  by  the  direct  action  of  the  mind  the 
more  nearly  is  the  habit  established. 


Fig.  20. 


Fig.  18.    Going  down  stairs  Incorrectly. 


Fig.  19.    Going  down  stairs  correctly. 


Fig.  22.    Arm  stretclilng_at^desk,  overhead. 


(33) 


Fig.  23.    Arm  stretching  at  desk,  at  side. 


General  Positions  and  Exercises  35 

Do  not  favor  any  part  of  the  body.  After  taking  an  exercise  on 
one  side,  change  the  strong  leg  and  repeat,  that  all  parts  of  the 
body  may  be  equally  used. 

Do  not  take  an  exercise  any  given  number  of  times,  but  until 
all  are  working  in  harmony.  This  will  mean  more  attentive,  better 
disciplined  pupils  than  if  the  pupils  know  just  the  number  of  times 
they  are  to  take  the  exercise. 

The  teacher  should  use  her  left  arm,  and  left  leg  when  her  class 
is  using  the  right,  in  order  to  avoid  the  confusion  that  would  other- 
wise result. 

When  the  exercises  are  to  be  taken  without  music,  the  teacher 
should  count,  taking  care  to  make  the  counts  even,  and  to  accent 
the  Jlrst  of  each  set  of  three. 

The  teacher  must  remember  that  her  success  in  this  line  of  work 
is  to  be  measured,  not  by  how  her  pupils  do  the  exercises,  but  by 
how  they  sit  and  stand  at  other  times  during  the  day ;  how  they 
go  out  of  the  schoolbuilding,  and  how  they  come  in.  Work,  then, 
for  permanent  results  ;  the  exercises  are  only  a  means  to  attain  an 
end,  and  that  end  is, — better  bodies  and  better  use  of  them. 


CHAPTER  11. 


"  All  movements  need  an  apprenticeship,  because  there  are  no  isolated  move- 
ments. One  limb  assists  another,  and  the  attitude  of  the  body  helps  or  hinders 
the  play  of  the  legs  and  arms. 

"  In  order  that  all  parts  which  associate  in  the  performance  of  a  movement, 
may  have  a  really  useful  share  in  it,  there  must  be  a  kind  of  discipline,  assigning 
to  each  muscle  its  particular  part.  The  man  who  exercises  his  muscles  is  like 
the  general  who  drills  his  troops,  in  order  to  have  them  under  control  in  the  day 
of  battle." — Fernand  Lagrange,  M.  D. 

Lifting  and  dropping  of  arms. 

Taken  either  sitting,  or  standing  in  the  2nd  attitude. 

Lift  tlie  arms  vertically  above  head ;  stretch  the  entire  arm  to 
the  finger  tips ;  relax  and  shake  the  hands  vigorously ;  drop  to  place 
at  side  (if  standing)  or  in  the  lap  (if  sitting).  Repeat  a  number  of 
times. 

Lift  the  arms  horizontally,  out  at  side  to  shoulder  level ;  stretch, 
shake,  and  drop  to  place.     (Figs.  22,  23  and  24). 

1.  Strong  arm  and  strong  leg.     (Fig.  25.) 

The  right  leg  strong,  the  left  free  and  placed  in  front.  Swing 
the  right  arm  up  in  front  of  the  body  to  a  vertical  position  over 
head.  Swing  down  and  stretch  the  arm  back  at  side.  Repeat  a 
number  of  times,  counting  thus  : — up,  2,  3 ;  down,  2,  3,  etc. 

The  movement  of  the  arm  must  be  strong  and  even  at  every 
point  during  the  exercise.     The  arm  must  be  unbent  and  stretched 

(36) 


Fig.  24.    Vertical  arm  stretcWng. 


y 


^ 


4*^ 


IX 


Fig.  25.    Strong  arm  and  strong  leg. 


Fig  r>r      VUeruaiiug ;  arms  passing,  ih  Uoni  oi  b  jdy.  Fig.  38.    Free  leg  back  toucMng  toe. 

(37) 


Aem  and  Leg  Movements  39 

out  as  far  as  possible  from  the  body.  lu  lifting  the  arm  to  the 
overhead  position  the  hand  is  dropped  from  the  wrist  (Fig.  20) ; 
in  lowering  the  arm  the  hand  is  bent  back,  the  muscles  on  the 
inside  of  the  hand  being  stretched.     (Fig.  21.) 

Repeat  this  exercise  a  number  of  times  with  the  right  arm  alone  ; 
then  with  both  arms  working  together  up  and  down  ;  then  alter- 
nating,— the  right  up  when  the  left  is  down,  and  the  left  up  when 
the  right  is  down.  In  alternating  the  arms  pass  each  other  in  front 
of  body  at  shoulder  level.     (Fig.  27.) 

In  all  the  exercises  stop  your  pupils  at  the  end  of  a  movement, 
— see  whether  they  are  stretching  as  far  as  possible  and  whether 
the  exercise  is  meaning  what  it  should ;  then  give  the  order  to 
place  the  arras  at  side.  For  example,  in  the  foregoing  exercise  of 
alternating  the  arras, — after  taking  the  movement  a  number  of 
times  give  the  order  "Stop!"  Hold  the  position  a  moment  (see 
Fig.  26),  and  then  place  the  arms  at  side. 

Change  the  strong  leg  and  repeat  the  exercise  beginning  with 
the  left  arm. 

2.  Strong  arm  and  free  leg. 

We  meet  in  this  exercise  with  the  only  exception  to  the  law  that 
the  strong  arm  and  strong  leg  must  be  on  the  same  side.  We  have 
here  the  active  arm  on  the  side  of  the  free  leg. 

Make  the  right  leg  strong. 

Touch  toe  of  left  foot  in  front,  stretching  the  leg  as  far  as  pos- 
sible but  keeping  the  body  quiet ;  touch  the  left  toe  back,  stretch- 
ing back  as  far  as  the  leg  will  reach.  (Fig.  28).  Repeat  leg  work 
a  number  of  times. 


40  Physical  Culture 

Lift  the  left  arm  when  the  left  leg  is  front  (Fig.  29) ;  stretcli  the 
arm  back  at  side  when  the  left  leg  is  back.     (Fig.  30.)     Repeat. 

Both  arms.     Alternating  of  arms. 

Change  the  strong  leg  and  repeat  with  the  right  leg  free  and 
right  arm  active. 

The  arm  work  in  this  exercise  is  the  same  as  in  exercise  1, 
"  strong  arm  and  strong  leg  ". 

3.  Relaxed  hand  work. 

This  maj  be  taken  sitting,  or  standing  in  the  2d  attitude. 

Lift  the  forearms,  making  a  right  angle  at  the  elbow ;  drop  the 
hands  from  the  wrist. 

Dropping  of  hands.  With  the  hand  perfectly  relaxed  shake 
vigorously  up  and  down. 

Rotary.  Swing  the  hand  around  in  a  circular  movement  on  the 
wrist,  whirling  toward  and  away  from  the  body. 

Hand  whirL 

Take  the  position  shown  in  Fig.  31. 

Whirl  the  hands  from  the  wrist  toward  and  away  from  the  body. 

The  free  leg  exercise  is  a  most  valuable  one  for  strengthening 
the  abdominal  muscles,  and  regaining  control  of  the  muscles  of 
that  part  of  the  body. 

The  relaxed  hand  worTc  &\\ov\^  be  constantly  practised  ;  by  it,  are 
gained  flexibility  of  the  hand  and  suppleness  of  the  wrist. 

No  system  of  Physical  Culture  is  complete  without  both  the 
relaxing  and  the  stretching  exercises.  The  former  are  to  free  the 
different  parts  of  the  body  from  incorrect  tendencies  and  positions; 
the  latter  are  to  build  them  up  with  strength  in  the  right  way. 


Alternating  Arms 


41 


A 

i 

^  m 

s^^H 

^ 

Fig:  26.    Alternating  arms. 


Ready  for  Hand  Whirl 


43 


Fig.  31.    Ready  for  Hand  Whirl. 


teaiSgg":.-i;>»'-  M  ■.i.-MiMM8^MgM'!»fe'*.*gi« 


Fig. 

29. 

Strong  arm  and  free  leg  front. 

i&v^5?" 

^^ 

'^      1 

^0^^ 

< 

J 

4 

^P 

IH 

1 

J^ 

;1 
4 

i 
1 

Fig.  30.    Strong  arm  and  free  leg  back. 


Fig.  32.    Cnest  movement  or  arms. 


(45) 


Fig.  33.    Slioulder  movement  ol  arms. 


CHAPTER  III. 


"  Let  us  apply  the  great  truth  of  mind  to  matter,  making  body  reveal  the 
strength  of  inner  as  well  as  outer  man— physical  expression  more  reliable  than 
verbal.  Form  as  well  as  face  should  reveal  the  cultivated  soul ;  attitude,  more 
than  speech,  expresses  the  man  of  culture  ;  bearing,  not  dress,  betrays  the  char- 
acter of  woman." 

All  the  exercises  in  this  lesson  are  taken  in  2nd  attitude. 

4.  Chest  moTement  of  arms. 

Lift  the  arms  straight  out  in  front  of  the  body.  Turn  the  palms 
facing  each  other.  Swing  the  arms  out  to  side  of  body,  keeping 
at  shoulder  level.  Stretch  back,  expanding  the  chest.  (Fig.  32.) 
Return  to  starting  position  (arms  in  front). 

The  movement  is  taken  thus : — lift  (arras),  2,  3  ;  place  (hands),  2, 
3  ;  out,  2,  3  ;  in,  2,  3  ;  etc. 

5.  Arch  moYement  of  arms. 

Start  at  shoulder  level  out  at  side  (Fig.  32) ;  turn  the  palms  up  ; 
swing  the  arms  up,  forming  an  arch  overhead  by  the  meeting  of  the 
tips  of  fingers.     Return  to  position  at  shoulder  level  and  repeat. 

6.  Downward  side  moYement. 

Start  at  shoulder  level  out  at  side  of  body  ;  palms  down  ;  swing 
down  to  side  and  up  to  shoulder  level.     Repeat. 

Law.  When  arms  are  working  at  the  side  of  body  the  palms 
are  up  above  shoulder  level  and  down  below  shoulder  level. 

(47) 


48  Physical   Cultuke 

7.  Shoulder  movement  of  arms. 

Lift  arms  to  shoulder  level  at  side ;  turn  the  palms  up  ;  place 
the  tips  of  fingers  on  shoulders,  keeping  the  upper  arms  horizontal. 
(Fig.  33).     Move  the  forearms  out  and  in. 

Alternate  shoulder  movement.  As  the  right  arm  is  bending, 
the  left  is  unbending,  and  when  the  fingers  of  the  right  hand  touch 
at  shoulder  the  left  arm  is  extended.     (Fig.  34.)  ^ 

When  the  arms  are  extended  at  shoulder  level  let  the  bands  be 
opened  wide  with  strength. 

Oblique  shoulder  movement.  Tips  of  fingers  on  shoulders. 
(Fig.  33).  Stretch  the  right  arm  obliquely  up,  the  left  arm 
obliquely  down  at  side.  (Fig.  35).  Return  to  position  at  shoulder; 
stretch  the  left  arm  obliquely  up  at  side  and  the  right  obliquely 
down.     Repeat. 

Stretch  as  far  as  possible  at  every  point  in  each  exercise. 

8.  Swimming  movement  of  arms. 

Cross  the  hands  at  the  wrist  in  front  of  the  chest,  palms  out. 
(Fig.  36).  Stretch  the  arms  out  away  from  the  body,  down  to  side 
and  back,  expanding  the  chest ;  return  to  position  (Fig.  36)  and 
repeat.     Put  a  great  deal  of  strength  into  the  hands. 

9.  Meeting  of  backs  of  hands  at  hip  level  in  front  of  body,  at 
chest  level,  eye  level,  over  head  and  back  of  head. 

{a)  Start  with  the  arms  at  side ;  lift  the  hands  to  hip  level  in 
front  of  body ;  let  the  backs  of  hands  touch.  (Fig.  3Y).  Stretch  the 
arms.  Part  the  hands,  at  the  wrist  first,  and  stretch  down  to  the 
starting  point  at  side.  Repeat  a  number  of  times,  the  wrists  meet- 
ing first  and  separating  first. 


Flff.  34.    Alternate  shoulder  movement. 


Fig.  35.    Oblique  shoulder  movement. 


Fig.  36.    Swimming  movement. 


(49) 


Fig.  37.    Meeting  backs  of  hand  at  hip  level. 


Arm  Movements  61 

(h)  From  the  same  point  at  side  lift  the  arms  to  chest  level  in 
front  of  body  (Fig.  38),  and  repeat  the  exercise  a  number  of  times. 

(o)  Take  the  movement  in  the  same  way  to  a  point  in  front  of 
the  body  at  eye  level.     (Fig.  39). 

{d)  Let  the  backs  of  the  hands  meet  over  head  and  swing  down 
to  side.     (Fig.  40). 

{e)  Let  the  backs  of  hands  meet  back  of  head  (Fig.  41),  and  swing 
down  to  side.  Guard  against  a  dropping  forward  of  the  head, 
especially  in  the  last  two  movements  (<^and  e). 

The  first  three  of  the  movements  in  exercise  9  may  be  repre- 
sented by  straight  lines  between  the  given  points  in  front  of  the 
body,  and  the  point  at  side.  The  last  two  movements  may  be 
represented  by  curved  lines;  the  arch  movements  from  overhead 
down  to  side. 

Diagram  for  exercise  9. 


at  side. 


52  PHTSICA.L   Culture 

The  exercises  of  this  chapter  aim  at  chest  expansion.  Keep  the 
chest  lifted  and  the  hips  back  in  each  exercise.  The  movements 
taken  with  a  sunken  chest  mean  nothing.  Stretch  the  body  to  its 
full  height. 

Wrist  education  is  taught  in  exercise  9. 


Fig-.  38.    Meeting:  backs  of  hands  at  chest  level.  Fig.  39.    Meeting  backs  of  hands  at  eye  level. 


Fig.  40.    Meeting  backs  of  hands  over  head.  Fig.  41.    Meeting  backs  of  hands  back  of  head 

(53) 


CHAPTER  lY. 


"A  well  poised  head  is  a  fitting  accompaniment  of  a  shapely  person." 
"  The  most  beautiful  head,  especially  in  woman,  will  be  marred  by  an  ungrace- 
ful carriage." 

10.  Head  movements. 

Exercises  for  the  head  must  be  taken  slowly  and  carefully. 
Avoid  the  least  jarring.  Do  not  strain  by  trying  to  move  the 
head  too  far  at  first.     Relax  completely  the  muscles  of  the  neck. 

Do  not  become  discouraged  and  give  up  the  head  movements  on 
account  of  ill  effects  experienced  at  first.  "  Patience  and  perse- 
verance conquer  all  things, "  even  stubborn  heads.  Perfect  free- 
dom and  control  of  the  head  are  most  essential.  It  may  prove 
helpful  to  close  the  eyes  during  the  movements. 

Take  the  head  work  sitting  in  the  active  position  or  standing  in 
the  2nd  attitude.  When  taken  standing  the  movements  to  the  side 
are  always  toward  the  free  leg.  This  stretches  the  muscles  on  the 
"  strong  side  "  of  the  neck.  Change  the  strong  leg  for  work  on 
the  opposite  side. 

The  exercises  for  the  head  consist  in  bending  at  the  neck  back- 
ward and  to  the  right  and  left  sides.  There  is  no  forward  bending, 
because  the  forward  movement  of  the  head  is  the  one  which  occurs 
continually  during  our  daily  occupations,  in  reading,  in  sewing,  and 

in  various  kinds  of  work.     The  overwhelming  majority  of  people 

(55) 


56  Physical  Culture 

carry  the  head  forward.  The  education  of  the  head  must  be,  there- 
fore, to  a  more  erect  carriage.  We  need  to  take  frequently  the 
backward  motion  to  counteract  the  effect  of  the  opposite  motion 
which  we  are  constantly  making. 

Head  movement  backward.  From  an  erect  position  of  the 
head,  bend  the  head  backward,  relaxing  the  muscles  in  front  of  the 
neck,  and  those  that  reach  up  over  the  chin.  Return  to  the  erect 
position.     Repeat  the  movement  a  number  of  times.     (Fig.  42.) 

Head  movement  to  side.  Make  the  left  leg  strong.  From  an 
erect  position  bend  the  head  down  toward  the  right  shoulder,  and 
up  to  position.     Repeat. 

Make  the  right  leg  strong,  and  repeat  the  head  movement,  bend- 
ing toward  the  right.     (Fig.  43.) 

Keep  the  body  erect,  but  do  not  make  the  muscles  of  the  should- 
ers and  sides  rigid. 

11.  Bight  foot  forward  and  back.  Start  with  1st  attitude. 
Take  a  step  forward  with  the  right  foot,  lift  the  left  heel.  (Fig. 
45.)     Return  to  1st  attitude  and  repeat. 

In  Fig.  45  the  body  is  in  the  following  position  : — head  erect, 
chest  lifted  and  expanded,  arms  at  side,  hips  and  abdomen  with- 
drawn, the  weight  on  the  ball  of  the  right  foot,  the  left  heel  lifted 
from  the  floor.     This  position  is  called  the  "  arrested  step  ". 

Left  foot  forward  and  back.  Ist  attitude  ;  step  forward  with 
the  left  foot,  lift  the  right  heel ;  back  to  1st  attitude.     Repeat. 

Alternate.  Step  forward  with  the  right  foot,  lift  left  heel; 
back  to  Ist  attitude  ;  step  forward  with  the  left  foot,  lift  the  right 
heel ;  back  to  1st  attitude.    Repeat. 


A  Correct  Standing  Position, 


57 


Fig.  44.    A  correct  standing  position. 


— I 


Fig.  42.    Head  movement  back. 


Fig.  43.    Head  movement  to  side. 


i 


9A 


Fig.  45.    Stepping  lonvard  with  left  loot.  Fig.  46.    Left  loot  lorward  wltli  arm  stretching. 

(59) 


Head  Movements  61 

12.  Exercise  11,  with  swinging  arms.  In  beginning  the 
exercise,  when  the  feet  are  in  1st  attitude,  the  arms  are  at  side. 
When  stepping  forward  with  the  right  foot  the  right  arm  is  lifted 
in  front  of  the  body  to  shoulder  level  and  at  the  same  time  the  left 
arm  is  stretched  back  at  side.     (Fig.  46.) 

When  stepping  forward  with  the  left  foot  the  left  arm  is  raised 
to  shoulder  level  in  front  of  body  and  the  right  is  stretched  back 
at  side. 

Alternate.  Take  the  above  exercise  (with  arm  swinging)  on 
the  right  and  left  sides  alternately. 

The  foregoing  exercise  is  to  aid  in  acquiring  the  position  of  the 
body  and  placing  of  the  foot  for  the  correct  walk.  Take  the 
forward  step  with  strength  and  let  the  thought  be  at  the  chest. 

The  active  arm  swings  only  to  shoulder  level,  that  it  may  guide 
the  head  in  taking  the  right  position. 

Keep  the  body  directly  facing  the  front. 

The  line  of  the  shoulders,  and  of  the  hips,  likewise,  must  always 
be  horizontal. 

This  exercise  may  be  given  taking  two  steps  forward  then  two 
back,  to  return  to  the  starting  point. 


CHAPTER  Y. 


"  Strength  at  the  centre,  freedom  at  the  surface,  is  the  true  condition  of  being." 
' '  Grace  is  economy  of  force  ;  awkwardness  is  physical  extravagance,  is  a  waste 
of  force.     Grace  necessitates  a  wise  adjustment  of  all  parts  of  the  body  and  a 
judicious  expenditure  of  the  nerve-force." — Emily  M.  Bishop. 

13.  Knee  movement.  Make  the  right  leg  strong;  lift  the  left 
leg  bent  at  the  knee,  swing  it  back,  letting  the  toe  touch  the  floor 
where  it  passes  the  right  foot.  (Fig.  47.)  This  movement  resem- 
bles the  pawing  of  a  horse. 

Keep  the  body  erect  and  quiet.  Let  the  accented  count  occur 
when  the  toe  touches  the  floor. 

Make  the  left  leg  strong  and  repeat  the  exercise  with  the  right 
leg. 

14.  Hip  movement.  Swing  the  right  foot  front  and  back  of 
the  left  in  a  circular  movement  without  touching  the  floor  at  any 
point  in  the  exercise.  Let  leg  be  entirely  relaxed  and  swing  from 
the  hip.     For  the  position  when  the  foot  is  in  front  see  Fig.  48. 

15.  Foot  extension  in  1st  attitude.  Take  1st  attitude;  rise 
on  toes,  lifting  the  heels  as  far  from  the  floor  as  possible.  Lower 
the  body  evenly  till  the  heels  again  rest  on  the  floor.  In  rising  on 
toes  let  the  body  go  straight  up,  stretching  the  chest.  In  returning 
to  position  keep  the  weight  upon  the  balls  of  the  feet ;  do  not  let 

the  body  down  with  a  jar. 

(62) 


Foot  Extension  63 

The  movement  should  be  perfectly  smooth,  and  control  main- 
tained at  every  point  during  the  exercise.     (Fig.  49.) 

16.  Foot  extension  in  1st  attitude  with  swinging  arms  oyer 
head.  Lift  the  arms  together  over  head  as  the  heels  are  lifted  ; 
stretch  the  arms  down  and  back  as  the  heels  are  lowered.   (Fig.  50.) 

17.  Foot  extension  in  2nd  attitude  with  swinging  arms  hor- 
izontally. Lift  the  arms  in  front  of  the  body  to  shoulder  level ; 
as  the  body  rises  on  toes  stretch  the  arms  horizontally  out  at  side. 
(Arm  work  in  the  exercise  is  the  same  as  exercise  4.)  Return  to 
the  position  in  front  of  the  body  as  the  heels  are  lowered.   (Fig.  51.) 

18.  Foot  extension  in  2nd  attitude.  Place  the  feet  in  2nd  at- 
titude and  rise  on  toes  as  in  exercise  15.  (Fig.  52.)  "When  the  heels 
are  up  the  weight  of  the  body  is  born  by  both  legs,  but  when  the 
body  is  lowered  to  position  the  weight  falls  again  upon  the  ball  of 
the  back  foot  as  in  2nd  attitude. 

If  this  exercise  is  taken  first  with  the  right  leg  strong,  change 
to  the  left  leg  strong  and  repeat. 

19.  Foot  extension  in  2nd  attitude  with  swinging  arms. 

Both  arms  stretched,  one  above  head,  the  other  back  at  side.  The 
lifted  arm  is  on  the  side  of  the  forward  foot,  the  arm  on  the  side 
of  the  strong  leg  being  stretched  back.  The  arms  fall  to  side  as 
the  heels  are  lowered.     (Fig.  53.) 

These  exercises  in  foot  extension  are  very  important  and  should 
be  practiced  daily.  They  are  of  great  help  in  strengthening  weak 
ankles.  They  aid  in  acquiring  the  correct  position  of  the  body  for 
standing,  that  is  in  keeping  the  weight  upon  the  balls  of  the  feet, 
and  poising  forward  rather  than  back.     The  greatest  care  must  be 


64  Physical   Culture 

taken,  if  good  is  to  result  from  the  practice  of  these  movements, 
that  the  body  be  kept  erect,  the  head  quiet,  and  tliat  the  weight  be 
not  allowed  to  rest  upon  the  heels  after  lowering  the  body. 

20.  Arm  whirl.  Begin  with  exercise  1,  strong  arm  movement, 
until  all  are  working  in  harmony.  Then  when  the  arm  is  above  head 
give  the  order  "ready  "  (for  whirling),  swing  the  arm  down,  and 
past  the  body  down  at  side,  up  behind  to  the  starting  position  over 
head.  Notice  carefully  the  following  point :  when  the  hand  passes 
the  body  down  at  side  in  the  whirl,  it  is  moving  from  the  front 
towards  the  back.  Let  the  entire  arm  be  relaxed,  swing  from  the 
shoulder  in  a  circular  movement.  Keep  the  body  erect  and  quiet ; 
let  the  whirl  be  even  and  free  from  jerks. 

Change  the  strong  leg  and  repeat  the  exercise  with  the  other 
arm. 

With  both  arms  together.  Start  always  with  the  strong  arm 
exercise  before  beginning  to  whirl.  The  accented  count  (^.  e.  the 
count  1)  should  occur  as  the  arm  passes  the  body  down  at  side. 
The  counts  for  the  exercise,  beginning  with  strong  arm  exercise 
and  growing  into  arm  whirl,  are  as  follows  :  up,  2,  3  ;  down  2,  3  ; 
(repeating  a  number  of  times)  ready,  2,  3;  whirl,  2,  3;  1,  2,  3 ;  1, 
2,  3 ;  etc.;  stop,  2,  3  (arm  is  over  head) ;  place  (at  side). 

This  is  a  difficult  movement  to  take  evenly  and  in  good  time. 
Mark  the  time  emphatically  and  make  the  movement  rhythmical 
and  even. 

21.  Boy's  bow.  Slide  the  free  foot  back  of  the  strong  foot, 
bending  the  body  slightly  forward  at  the  same  time ;  lift  the  free 
foot  and  place  it  in  its  position  in  front  of  the  strong  foot.    (Fig.  54.) 


^ 


Fig.  47.    Knee  movement. 


Fig.  48.    Hip  movement. 


Fig.  49.    Foot  extension  In  1st  attitude. 


(65) 


Fig.  50.    Foot  extension  in  1st  attitude  with  arms 
swinging  over  head. 


J^i 


Fig.  51.    Foot  extension  in  1st  attitude  with  chest 
movement  ol  arms. 


Fig.  52.    Foot  extension  in  2cl  attitude. 


Fig.  53.    Foot  extension  In  2d  attitude  wltli  arm    • 
stretclilng. 


(67) 


Fig.  54.    Gentleman's  bow. 


CHAPTER  VI. 


"  Lesbia  wears  a  cloth  of  gold, 

But  all  so  close  the  nymph  hath  laced  it 
Not  a  charm  of  beauty's  mould 

Presumes  to  stay  where  Nature  placed  it.  . 
Oh  !  my  Nora's  gown  for  me, 

That  floats  as  wild  a?  mountain  breezes. 
Leaving  every  beauty  free, 

To  sink  or  swell  as  Heaven  pleases. 
Yes,  my  Nora  Creina,  dear. 
My  simple,  graceful  Nora  Creina. 
Nature's  dress 

Is  loveliness —  .* 

The  dress  you  wear,  my  Nora  Creina. 

— TJwmas  Moore. 

22.  Finger  stretching  and  spreading.  May  betaken  either 
sitting,  or  standing  in  the  2nd  attitude.  Start  with  the  hands 
closed ;  open ;  stretch  the  fingers  and  the  thumbs  as  far  back  as 
possible ;  spread  the  fingers  apart.  The  counting  for  this  exercise 
is  as  follows  :  open,  2,  3;  stretch,  2,  3;  spread,  2,  3;  close,  2,  3; 
and  repeat.     (Fig.  55.) 

Do  not  allow  the  effort  made  in  stretching  the  fingers  to  be  seen 
in  the  face. 

23.  Both  feet  pivot  to  the  right,  hoth  feet  pivot  to  the  left. 

Start  with  Ist  attitude  with  the  heels  apart  (three  or  four  inches.) 

(69) 


70  Physical  Cultuke 

Take  foot  extension  a  number  of  times;  then  with  the  heels  lifted, 
tarn  on  the  balls  of  the  feet  till  the  body  is  directly  facing  the 
right.  The  right  foot  is  now  in  front  of  the  left.  (For  this  posi- 
tion of  the  feet  see  Fig.  56).  Let  the  heels  go  down  to  floor. 
Take  foot  extensions  a  number  of  times  in  this  position  ;  then, 
with  the  heels  lifted  from  the  floor,  turn  on  the  balls  of  the  feet 
back  to  the  front  and  around  to  the  left ;  let  the  heels  go  down 
to  the  floor  ;  repeat  foot  extension  ;  with  the  heels  lifted  from  the 
floor,  turn  again  to  the  front  and  lower  the  heels  to  the  floor. 

The  counts  for  pivoting  are  as  follows :  rise,  2,  3 ;  down,  2,  3  ; 
rise,  2,  3;  down,  2,  3  ;  ready,  2,  3  ;  turn,  2,  3  ;  down,  2,  3  ;  up, 
2,  3  ;  down,  2,  3  ;  ready,  2,  3  ;  turn,  2,  3 ;  turn,  2,  3 ;  down,  2,  3  ; 
up,  2,  3  ;  down,  2,  3  ;  ready,  2,  3 ;  turn,  2,  3  ;  down. 

Keep  the  body  and  head  perfectly  erect.  The  balls  of  the  feet 
should  be  in  the  same  place  on  the  floor  at  the  close  of  the  exercise 
thalf  they  were  at  the  beginning, 

24.  Pivoting  with  swinging  arms.  Lift  the  arms  together 
over  head  as  the  heels  are  lifted  (same  as  in  Fig.  49).  Lower  them 
as  the  heels  are  lowered.  When  pivoting  the  arms  are  held  straight 
up  over  the  head.     (Fig.  56.) 

This  is  an  exercise  which  requires  much  practice  before  perfec- 
tion can  be  reached.  It  strengthens  the  ankles,  and  gives  better 
poise  and  control  of  the  body.  It  also  strengthens  the  muscles  in 
the  calves  of  the  legs. 

25.  Body  over,  arms  baclt.  Take  1st  attitude.  Lift  the  arms 
straight  up  over  head  ;  bending  at  the  hips  swing  the  upper  part  of 
the  body  and  the  arms  down  in  front,  stretch  the  arms  back.  (Fig. 
57.)     Return  to  position  with  the  arms  over  head.     Repeat. 


Pivoting  ti 

Keep  the  knees  unbent ;  relax  the  back  completely,  and  let  the 
head  drop  upon  the  chest  when  the  body  is  bent. 

After  each  bending  let  the  body  return  to  an  erect  position. 

When  the  body  has  become  supple  the  pupil  will  be  able  to 
touch  the  floor  without  bending  the  knees.     (Fig.  91.) 

Take  this  exercise  carefully  the  first  few  days  of  practicing.  Do 
not  strain  the  back  in  going  over.  If  all  persons,  men,  women, 
and  children,  would  take  this  exercise  regularly  every  day,  they 
would  find  themselves  greatly  benefited.  The  movement  is 
vigorous,  sending  the  blood  in  rapid  circulation  over  the  entire 
body,  and  helping  to  strengthen  the  muscles  of  the  upper  part  of 
the  back  and  of  the  abdomen,  which  are  apt  to  be  weak  and  flabby. 
The  result  to  the  general  health  of  systematic  exercise  of  the 
abdominal  muscles  is  very  great. 

26.  Head  down,  arms  up.  Take  Ist  attitude.  Lift  the  arms 
above  head,  drop  the  head  upon  the  chest.  Head  and  arms  work 
in  opposition.  When  the  arras  go  down,  the  head  moves  back. 
(Fig.  58.)     When  the  head  moves  down,  the  arms  go  up. 

When  the  head  is  stretched  back,  and  the  arms  are  stretched 
down  at  side,  the  chest  should  be  expanded. 

27.  Free  leg  forward  bend  and  free  leg  backward  bend. 

Place  the  feet  a  little  farther  apart  than  the  2nd  attitude.  Bend 
the  forward  knee.  (Fig.  59.)  Tiie  body  is  erect  over  the  forward 
foot,  the  back  foot  flat  upon  the  floor,  and  the  back  leg  straight 
but  inclined  obliquely  toward  the  front.  Lift  the  forward  foot  and 
place  it  back  of  the  other ;  bend  the  same  knee  again ;  bend  the 
body  slightly  at  the  hips  but  keep  the  head  erect ;  the  front  foot  is 


72  Physical  Culture 

flat  upon  the  floor,  and  the  front  knee  straight.     Lift  the  free  foot 
and  place  it  in  front.     Repeat.     Change  strong  leg  and  repeat. 

Observe : — The  strong  foot  remains  firmly  placed  on  the  floor 
during  the  entire  exercise  ;  the  strong  leg  remains  unbent,  but 
moves  forward  obliquely  and  backward  obliquely  as  the  free  leg 
bends  front  and  back. 

28.  Free  leg  forward  and  backward  bend  with  swinging 
arms.  The  arms  swing  together  up  and  down.  Lift  the  arms 
above  head  as  the  free  leg  bends  front,  lower  the  arms  slowly  as 
the  free  leg  is  lifted  and  placed  back ;  when  the  free  leg  bends 
back,  stretch  the  arms  back  at  side  ;  lift  them  slowly  as  the  free  leg 
is  placed  in  front.     Repeat. 

29.  Complex  movement.  Take  2nd  attitude.  This  exer- 
cise is  similar  to  27.  Make  the  right  leg  strong.  Bend  the  left 
knee,  keeping  the  body  erect,  straighten  the  left  leg  and  bend  the 
right  leg ;  repeat,  bending  first  the  right  and  then  the  left.  The 
counting  is  thus :  bend  (front),  2,  3  ;  up,  2,  3 ;  bend  (back),  2,  3 ; 
up,  2,  3;  bend  (front),  2,  3;  etc.  Change  the  strong  leg  and 
repeat. 

Observe: — When  the  back  leg  is  bent  the  front  is  straight,  and 
the  foot  flat  upon  the  floor.  Both  feet  are  firmly  planted  on  the 
floor  during  the  entire  exercise. 

30.  Complex  movement  with  swinging  arms.  Alternate 
movement  of  arms.  When  the  forward  leg  is  bent  the  arm  on  the 
same  side  is  lifted,  the  other  stretched  back.  (Fig  62.)  When 
the  body  is  erect,  just  before  bending  the  back  leg,  the  arms  are 
passing  in  front  of  the  body  as  in  Fig.  27.     When  the  back  knee 


Fig.  55.    Finger  stretching. 


Fig.  56.    Pivoting  to  side  with  swinging  arms. 


Fig.  57.    Body  over  anus  back. 


(78) 


Fig.  58.   Arms  back,  head  back. 


Fig.  59.    Free  leg  forward  bend. 


Fig.  60.    Complex  movement,  back  knee  bent ; 

arm.s  alternate. 


Fig.  61.    Complex  movement,  back  knee  bent ; 
arms  alternate. 


(75) 


Fig.  62.    Complex  movement,  front  knee  bent ; 
arms  alternate. 


Complex  Movement  77 

is  bent  the  arm  on  that  side  is  stretched  up,  the  other  back  at  side. 
(Figs.  60  and  61.) 

The  last  half  of  the  "  free  leg  forward  and  backward  bend  ",  i.  e., 
free  leg  backward  bend  with  the  return  to  2nd  attitude,  constitutes 
the  low,  deferential  bow. 

The  last  half  of  "complex  movement",  i.  e.  the  bending  of  the 
back  knee  and  unbending,  constitutes  the  polite  bow.  There  is 
only  a  slight  bending  of  the  body  in  this,  and  it  gives  merely  a 
recognition  of  the  entire  person. 


CHAPTER  VII. 


"  What  I  Know  ye  not  that  your  body  is  the  temple  of  the  Holy  Ghost  which 
is  in  you,  which  ye  have  of  God,  and  ye  are  not  your  own  ?  For  ye  are  bought 
with  a  price  ;  therefore  glorify  God  in  your  body,  and  in  your  spirit,  which  are 
God's." — Saint  Paul,  I.  Corinthians,  vi.  19,  20. 

The  movements  of  the  body  are  in  curved  lines.  The  move- 
ments of  the  head  define  arcs  of  circles,  the  point  at  which  the 
neck  bends  acting  as  the  centre  and  the  distance  from  that  point  to 
the  top  of  the  head  as  the  radius.  In  the  movements  of  the  hand 
the  tips  of  the  tinkers  define  an  are  of  a  circle  of  which  the  wrist 
joint  is  the  centre,  and  the  length  of  the  hand  the  radius. 

Let  us  illustrate  the  movements  made  by  the  arm  by  the  work 
done  on  a  blackboard  with  a  string  and  crayon.  The  radius  of  the 
circle  to  be  drawn  on  the  board  is  the  same  as  the  length  of  the 
string,  and  the  distance  from  shoulder  to  finger-tips.  If  the 
circle  is  to  be  perfect  the  string  must  remain  the  same  length  dur- 
ing the  drawing,  that  is  it  must  not  be  allowed  to  loosen.  In  like 
manner  if  the  curved  line  drawn  by  the  tips  of  the  fingers  is  to  be 
a  perfect  arc  of  a  circle,  the  arm  must  remain  the  same  length 
daring  the  movement,  that  is  it  must  not  be  bent  at  any  time  but 
stretched  out  its  full  length. 


Chart  Woek  Y9 

The  imaginary  surface  upon  which  the  arm  draws  is  not  a  flat 
one  such  as  the  black-board,  but  a  concave  surface,  which  the  tips 
of  the  fingers  may  touch  at  any  point, — over  head,  in  front  of  the 
body,  down  at  side,  or  out  at  shoulder  level  at  side.  It  is  then 
as  if  the  arm  were  drawing  on  the  inside  of  a  hollow  sphere, 
the  centre  of  which  is  the  shoulder  joint. 

A  circle  may  be  so  placed  in  front  of  the  eye  as  to  appear  like  a 
vertical  line.  The  semi-circle  drawn  by  the  arm  from  the  position 
over  head  down  in  front  of  the  body  to  side  must  be  represented 
on  the  board  by  a  vertical  line. 

The  representation  of  the  simplest  lines  drawn  by  the  arm  is 
called  the  chart  work.  ' 

Bear  in  mind  the  fact  that  the  lines  represented  by  straight  lines, 
— the  vertical,  the  horizontal,  and  the  oblique, — when  drawn  by  the 
arm  are  not  straight  lines,  but  vertical  curves,  horizontal  curves, 
and  oblique  curves. 

In  giving  this  work  to  her  class,  the  teacher  draws  the  line 
upon  the  board  and  instructs  her  class  to  draw  the  line  with  their 
arms,  making  it  straight  and  strong.  The  class  must  follow  the 
line  upon  the  board,  and  not  the  work  of  the  teacher.  The  line 
must  be  correctly  drawn,  or  the  teacher  cannot  blame  her  class  for 
working  incorrectly.  If  the  line  is  well  drawn  upon  the  board  and 
the  pupils  do  not  do  good  work,  merely  call  their  attention  to  the 
fact  that  they  are  to  follow  the  line  closely.  Draw  and  then 
retrace ;  stop  each  time  just  at  the  end  of  the  line  and  do  not  allow 
any  flourishes. 


80  Physical  Culture 


THE  CHART. 


Start  at  arrow  and  return  to  arrow.  Draw  the 
line  as  far  away  from  the  body  as  possible. 

31.  The  vertical  line. 

Start  with  the  right  leg  strong.  Lift  the  right  arm 
over  head,  draw  the  line  "  1  "  extending  down  in 
front  of  body  to  side,  and  stretch  back.     Retrace, 

Note. — This  movement  is  the  same  as  exercise  1,  but  the 
thought  held  in  mind  makes  a  new  exercise  of  it. 

With  both  arms.  Lift  both  arms  over  head  and 
draw  the  same  line.  The  arms  are  now  drawing  two 
vertical  lines  which  are  parallel. 

Make  the  left  leg  strong  and  repeat. 

32.  The  horizontal  line. 

Make  the  right  leg  strong. 
Lift  the  right  arm  in  front  of 
the  body  to  shoulder  level. 
Turn  the  palm  up.  Draw 
the  line  "2"  toward  the  right,  keeping  at  shoulder  level,  out  to  a 
point  at  the  side  of  body  at  shoulder  level.  Stretch  out  as  far  as 
possible.     Turn  the  palm  down,  and  retrace  the  line. 

Law.     In  the  horizontal  line,  the  palm  is  up  going  out  and  down 
returning. 


Chart  Wokk 


81 


Both  arras.     Lift  the  arms  in  front  of  body  to  shoulder  level, 
draw  the  line  "2"  with   both  arms  toward  the  right.     Retrace. 


Make  the  left  leg  strong, 
and  draw  the  line  "  2' "  with 
the  left  arm  toward  the  left. 

Draw  with  both  arms  to- 


ward the  left. 


Lift  both  arms  in  front  of  the  body  to  shoulder  level,  turn  the 
palms  up.  Draw  the  line  "  2  "  with  the  right  arm,  and  at  the  same 
time  "  2'  "  with  the  left.     Turn  the  palms  down  and  retrace. 

Note. — This  movement  is  the  same  as  exercise  4,  with  the  exception  that  here 
the  new  law  for  the  hand  is  observed. 

33.  The  obliqne  line. 


Make  the  right  leg  strong. 
Lift  the  right  arm  above  head. 
Place  it  out  at  the  right  at  head. 
level. 

Draw  the  oblique  line  "3", 
crossing  the  body  in  front,  down 
to  waist  level  at  the  left  side. 
Retrace. 


Place  both  arms  up   obliquely 
from  the  body  at  the  right  side,  and  draw  the  same  line. 


82 


Physical  Cultuke 


Make  the  left  leg  strong.  Lift 
the  left  arm  over  head  ;  place  out 
at  the  left  at  head  level.  Draw 
the  line  "4"  crossing  in  front  of 
the  body  to  a  point  at  waist  level 
at  the  right  side. 

With  both  arms.  Lift  both  arms, 
place  obliquely  away  from  the  body 
toward  the  left,  draw  "  4  ".  When 
the  oblique  line  is  drawn  with  both  arms,  the  tips  of  the  fingers 
define  two  lines,  which  are  of  equal  length  and  parallel.  The 
relation  of  the  lines  to  each  other  is  thus: 


34.  The  right  and  left  obliques  combined.     2nd  attitude,  either 


Chart  Wokk  83 

leg  strong.  Lift  both  arms  over  head  ;  place  the  right  arm  out  at  the 
right,  and  the  left  arm  out  at  the  left.  Draw  the  oblique  line  "  3  " 
with  the  right  arm  and  the  oblique  line  "  4  "  with  the  left  arm  at 
the  same  time.  The  lines  meet  at  a  point  in  front  of  the  body  at 
waist  level.     Retrace. 

35.  Both  arms  in  the  right  and  left  obliques.  Make  the  right 
leg  strong.  Lift  the  left  heel.  Lift  the  arms  over  head ;  place 
obliquely  from  the  body  toward  the  right.  (Fig.  66.)  Draw  the 
line" 3"  with  both  arms,  then  trace  the. line  "4"  obliquely  up  to 
the  left  side.  As  the  arms  swing  over  to  the  left  side  the  weight 
of  the  body  is  thrown  upon  the  left  foot  and  the  heel  of  the  back 
foot  is  lifted.  (Fig.  67.)  Retrace.  The  lines  drawn  by  the  arms 
may  be  represented  as  follows : 


84  i^HYSICAL     CuLTTJEE 

The  chart  in  its  completion  is  drawn  in  the  following  manner : 


The  arcs.     There  are  four  sets  of  arcs  ;  two  drawn  horizontally 
in  front  of  the  body,  and  two  vertically. 


36.  First  set  of  arcs.     Make   the  right   leg  strong.     Lift  the 


Chart  Work 


85 


right  arm  and  place  it  directly  over  head.  Draw  the  arc  "  A  " ; 
stretching  the  arm  down  away  from  head  to  shoulder  level  at  the 
side  of  body  and  up,  ending  the  arc  up  at  head  level  as  far  back  as 
the  arm  will  reach.  The  lowest  part  of  the  arc  is  at  shoulder  level 
obliquely  out  from  the  body.     Retrace. 

Make  the  left  leg  strong,  and  in  the  same  manner  draw  "  B  "  with 
the  left  arm. 

With  either  leg  strong,  draw  "  A"  and  "  B  "  together. 

Stretch  out  at  every  point  in  the  exercise  as  far  from  the  body 
as  possible. 

Keep  the  head  and  the  body  erect  and  quiet.  This  is  a  very 
strong  exercise,  and  with  the  chest  kept  lifted  and  the  hips  held 
back  it  means  much  in  the  development  and  strengthening  of  the 
muscles  of  the  abdomen  and  sides. 

37.  Second  set  of  arcs.  Make  the  right  leg  strong.  Place  the 
right  arm  in  front  of  body  at  waist  level.     Draw  the  arc  "  C " 


extending  up  to  shoulder  level  and  down,  stretching  back.     The 


86 


Physical  Cultube 


highest  point  in  the  arc  is  at  shoulder  level  obliquely  out  from  the 
body.  The  arc  ends  at  waist  level  stretching  back  as  far  as  pos- 
sible away  from  the  body.     Retrace. 

Make  the  left  leg  strong,  and  draw  the  arc  "  D  "  with  the  left 
arm.     Draw  "  C  "  and  "  D  "  together. 


38.  Third  set  of  arcs.    The  convex  curves. 


out  at  side.     Retrace. 


Make  the  right 
leg  strong.  Lift 
the  right  arm, 
place  it  at  head  lev- 
el out  at  the  right 
side.  Draw  the 
arc  "E"  stretch- 
ing the  arm  toward 
head,  down  in 
front  of  the  body 
to  waist  level,  and 


Make  the  left  leg  strong  and  draw  the  arc  "  F  "  with  the  left 
arm. 

With  either  leg  strong  draw  "E"  and  "F"  together.  When 
the  arms  are  working  together  in  the  third  set  of  arcs,  the  hands 
nearly  touch  as  they  reach  the  middle  of  the  arc  at  the  point  in 
front  of  the  body. 


Chart  Woek 


8t 


39.  Fourth  set 
of  arcs.  The  con- 
cave cuiTes. 

The  right  leg 
strong.  Place  the 
right  hand  over 
head.  Draw  the 
arc  "G",  stretch- 
ing out  away  from 
body  down  at  the 
side  of  body  and 
in  toward  body  at  waist  level.  The  middle  of  the  arc  is  at  shoulder 
level  out  at  the  side  of  body.  The  end  of  the  arc  is  at  waist  level 
in  front  of  body. 

Make  the  left  leg  strong  and  draw  with  the  left  arm  the  arc  "  H  ". 
With  either  leg  strong  draw  "  G  "  and  "  H  "  together. 


CHAPTER  YIIL 


"  The  investigations  and  efiforts  with  the  inmates  the  past  year  have  served  to 
strengthen  the  opinion  that  physical  degeneracy,  however  originated,  is  a  com- 
mon subjective  cause  of  criminal  conduct;  that  mental  powers  enfeebled, 
untrained,  uninformed,  characterize  the  mass  of  criminals  on  admission,  a  condi- 
tion evidencing  physical  degeneration  as  its  source  ;  that  such  persons  are  not 
servicable  in  the  employments  of  free  society,  and  so  soon  get  discharged  from 
situations  and  cannot  readily  provide  legitimately  for  their  own  subsistance." — 
From  the  Report  for  1892  of  the  Elmira,  N.  Y.,  State  Reformatory. 

40.  Second  attitude  forward  bend.  Make  the  right  leg  strong. 
Bend  the  left  knee,  keeping  the  right  leg  unbent  and  the  right  foot 
flat  on  the  floor.     (Fig.  59.) 

Unbend  the  left  knee  and  repeat  the  exercise.  Expand  the 
chest  well  in  bending  forward. 

Keep  the  shoulders  and  the  hips  horizontal  and  the  body  squarely 
to  the  front. 

Change  the  strong  leg  and  repeat. 

41.  Second  attitude  forward  bend  with  horizontal  arm  stretch- 
ing. Lift  the  arms  in  front  of  body  to  shoulder  level ;  turn  the 
palms  up ;  bend  the  forward  knee,  at  the  same  time  stretching  the 
arms  out  to  side  ;  turn  the  palms  down  and  return  the  arms  to  front 
of  body  as  the  knee  straightens.     (Fig.  63.) 

(88) 


Fig.  63.    Second  attitude  forward  l)end  with  horizontal  J 
arm  stretching. 


Fig.  64.    Ai"m  swinging  from  chest. 


Fig.  65.    Arm  swinging  from  shoulder. 


(89) 


Fig.  66.    Oblique  arm  swinging. 


Flfir.  67.    Oblique  arm  swinging. 


Fig.  G8.    Alternating  strong  ai'm  and  free  leg. 


Fig.  69.    Strong  arm  and  head  toward  rlgM.  Fig.  70.    Swinging  arm  front  and  back  of  hip. 

(91) 


Arm  Swinging  93 

Change  the  strong  leg  and  repeat. 

42.  Second  attitude  forward  bend  with  vertical  arm  stretching. 

As  the  forward  knee  bends  swing  the  arms  together  over  head, 
and  down  again  as  the  leg  unbends.  When  the  knee  is  bent  and 
the  arms  are  stretched  over  head  do  not  allow  the  upper  part  of 
the  body  to  bend  back,  but  keep  it  perfectly  erect  over  the  ball  of 
the  forward  foot. 

Change  the  strong  leg  and  repeat. 

43.  Arm  swinging  from  chest.  Take  the  position  seen  in  Fig. 
64.  Swing  both  arms  in  front  of  body  to  the  corresponding  posi- 
tion on  the  opposite  side. 

This  movement  and  also  the  following  one  are  very  vigorous  and 
the  time  more  rapid  than  in  any  of  the  other  exercises. 

44.  Arm  swinging  from  shoulder. 

Take  the  position  as  in  Fig.  64.  Swing  the  arms  over  head 
(Fig.  65)  to  shoulder  level  on  the  other  side,  and  return. 

45.  Oblique  arm  swinging.  Same  as  exercise  35.  See  Figs.  66 
and  67. 

46.  Alternate  the  strong  arm  and  free  leg.  Place  the  right  foot 
back  touching  toe ;  lift  the  left  arm ;  swing  the  right  foot  front 
and  the  left  arm  down ;  swing  the  right  foot  back,  and  the  left  arm 
up.     (Fig.  68.)    Repeat. 

The  free  foot  should  not  touch  the  floor  during  the  exercise. 
Stop  when  the  arm  is  up  and  the  leg  back  and  stretch.  Stop  when 
the  leg  is  front  and  the  arm  back  and  stretch.  These  obliq^ue 
stretches  are  very  fine, 


94  Physical  Culture 

47.  Strong  arm  and  head  toward  right. 

Right  leg  strong.  Lift  the  right  arm  to  shoulder  level  in  front 
of  body;  turn  the  palm  up;  draw  the  horizontal  line  and  let  the 
eyes  follow  the  tips  of  the  fingers  as  the  arm  moves  out  to  the  side. 
Turn  the  palm  down  and  retrace  the  line.  Repeat.  Keep  the 
eyes  upon  the  tips  of  fingers  all  through  the  exercise.  (Fig,  69.) 
When  the  arm  is  out  at  side  the  head  is  turned  obliquely  to  the 
side. 

Both  arms.  Lift  both  arms  in  front  of  body  to  shoulder  level ; 
turn  palms  up ;  draw  with  both  arms  the  horizontal  line  toward 
the  right;  let  the  eyes  follow  the  hand  farthest  from  the  body. 
Return  to  position  and  repeat.  Move  only  the  arms  and  the  head  ; 
keep  the  body  quiet. 

Make  the  left  leg  strong,  and  take  strong  arm  and  head  toward 
the  left. 

Both  arms  and  head  toward  the  left. 

This  exercise  is  for  head  education.  The  turning  of  the  head 
should  be  slow  and  even,  guided  entirely  by  the  strong,  even 
movement  of  the  arm  as  it  draws  the  horizontal  line.  Perfect  con- 
trol of  the  muscles  is  as  essential  as  their  perfect  development. 

Better  discipline  will  result  from  the  practice  of  this  movement. 
The  eye  as  well  as  the  arm  now  has  a  duty  assigned  to  it,  and  the 
boy  who  before  kept  looking  at  his  neighbors  can  now  do  so  no 
more.  Do  not  allow  the  pupil  to  take  his  eyes  up  once  from  his 
hand  during  the  exercise. 

It  is  well  to  begin  the  exercise  without  the  head  work,  until  all 
are  working  in  harmony  ;  then,  without  stopping  the  arms,  let  the 
head  turn  as  the  arms  move  out. 


CHAPTER  IX. 


"  We  glorify  God  with  our  body  by  keeping  it  in  good  health. 

Good  health  is  the  basis  of  all  physical,  intellectual,  moral,  and  spiritual 
development.    *    »    * 

A  great  soul  may  inspire  a  sick  body  with  strength  ;  but  if  the  body  were 
well,  it  would  obey  yet  more  promptly  and  effectually." — James  Freeman  Clarke. 

48.  Swing  right  arm  front  and  back  of  liip.  Eight  leg  strong ; 
place  the  right  hand  in  front  of  body ;  swing  the  right  arm  behind 
the  body  (Fig.  70)  and  front.  Swing  the  entire  arm  from  the 
shoulder. 

Both  arms.  Place  both  hands  in  front  of  the  body,  swing  the 
arms  back  (Fig.  71)  and  front.     Repeat. 

Alternate.  "When  the  right  arm  is  swinging  from  the  front 
toward  the  back  the  left  is  swinging  from  the  back  toward  the 
front.     (Fig.  72.) 

Expand  the  chest  and  swing  the  arms  with  perfect  freedom. 

Make  the  left  leg  strong  and  repeat  the  exercise. 

49.  Body  over  right';  return.    Body  over  left ;  return. 

Ist  attitude  ;  bend  the  body  over  to  the  right  side  (Fig.  73)  and 
return.  Repeat.  Let  the  head  be  relaxed,  and  allow  it  to  fall 
upon  the  right  shoulder. 

Keep  both  feet  firmly  on  the  floor.     This  exercise  stretches  the 

(95) 


96  Physical   Culture 

muscles  on  tlie  left  side  from  those  of  the  neck  to  those  of  the 
ankle. 

1st  attitude  ;  bend  the  body  over  to  the  left  and  return.     Repeat. 

Return  after  each  movement  to  the  erect  position  of  the  body. 

50.  Body  over  front ;  return.  1st  attitude ;  bend  the  body 
from  the  hips  over  to  the  front,  relaxing  the  muscles  and  joints  of 
the  back,  and  letting  the  head  fall  upon  the  chest.  The  arms 
should  hang  perfectly  relaxed  from  the  shoulders.  Lift  the  bod}'^ 
to  the  upright  position,  putting  strength  into  the  muscles  of  the 
back,  and  lifting  the  chest.     Repeat.     (Do  not  bend  the  knees.) 

51.  Body  over  to  left,  raise  arm  over  head. 

Place  the  left  foot  out  at  side  touching  toe.  Keep  the  weight  of 
the  body  on  the  right  foot  all  through  the  exercise.  Bend  the 
body  over  to  the  left,  and  at  the  same  time  swing  the  right  arm 
over  head.  (Fig.  74.)  Let  the  head  fall  upon  the  left  shoulder. 
Return  and  repeat. 

Body  over  to  right,  raise  arm  over  head. 

Place  the  right  foot  at  side  touching  toe.  Bend  the  body  over 
to  the  right,  swing  the  left  arm  over  head.  Return  to  position 
and  repeat. 

Observe  ;  the  body  moves  toward  the  free  leg  in  order  to  stretch 
the  muscles  on  the  strong  side. 

The  arm  swings  over  head  to  stretch  the  muscles  under  the  arm. 

52.  Body  over  front,  swing  arms  back ;  body  back,  swing  arms 

np.  1st.  attitude  ;  lift  both  arms  to  a  vertical  position  over  head, 
bending  at  the  hips,  swing  the  body  down  in  front,  stretching  the 
arms  back.     (Exercise  25  and  Fig.  57.) 


Fig.  71.    Swinging  t)oth>rm8  back  of  hips.  Fig.  72.    Alternatlngarms  front  and  back  of;  hips. 


Fig.  73.    Body  over  to  right. 


(97) 


Fig.  76.    Strong  arm  and  head  lowered. 


Body  Over  to  Side 


99 


Fig.  V4.    Body  over  to  side,  swing  arm  over  head. 


Lending  the  Body  101 

Lift  the  body,  and  (with  the  arms  up)  bend  the  body  slightly 
back  of  body  line,  relaxing  the  muscles  of  the  neck  and  letting  the 
head  fall  back.     Repeat. 

In  bending  back  of  body  line,  bend  at  the  waist  and  not  at  the 
hips,  as  the  latter  throws  the  abdomen  forward  and  thus  gives 
prominence  to  that  part  of  the  body  which  we  have  been  aiming 
to  hold  back. 

Let  the  head  and  the  eyes  be  perfectly  relaxed  and  follow  the 
movement  of  the  body. 


CHAPTER  X. 


"We  ought  not  to  make  our  exercises  consist  in  means  contrary  to  nature. 
. . .  .Everything  which  is  diflBcult  and  dangerous  is  not  suitable  for  practice  ;  but 
that  is  suitable  which  conduces  to  the  working  out  of  that  which  is  proposed  to 
us." — Epictetus. 

53.  Strong  arm  and  head  upraised. 

Right  leg  strong.  Lift  the  right  arm  to  shoulder  level  in  front 
of  body ;  swing  the  arm  to  a  vertical  position  over  head.  As  the  arm 
is  lifted  let  the  eyes  follow  the  tips  of  the  fingers.  E-etnrn  to 
shoulder  level  and  repeat.  Keep  the  eyes  upon  the  tips  of  the 
fingers  all  through  the  exercise.  When  the  arm  is  over  head  the 
head  is  bent  back. 

Both  arms.  Lift  both  arms  to  shoulder  level  in  front  of  body  ; 
swing  up  over  head  and  down  to  shoulder  level.  Let  the  eyes  fol- 
low a  centre  line. 

Make  the  left  leg  strong  and  repeat. 

Begin  the  exercise  without  the  head  work  until  all  are  working 
in  harmony. 

54.  Strong  arm  and  head  lowered. 

Kight  leg  strong.     Lift  the  right  arm  to  shoulder  level  in  front 

of  body.     Swing  the  arm  down  past  the  body,  stretching  back. 

Let  the   eyes  follow  the  tips  of  the  fingers.     When  the  arm   is 

(102) 


Arms  and  Head  Lowered 


10;^ 


Fig.  75.    Both  arms  and  head  lowered. 


Head  Exercises  105 

stretched  back  at  side  the  head  is  turned  obliquely  over  the  shoulder, 
the  eyes  on  the  hand.     Return  to  position  and  repeat. 

Keep  the  eyes  on  the  hand.  Hold  the  body  perfectly  still.  Move 
only  the  head  and  the  arm. 

Both  arms.  Lift  both  arms  to  shoulder  level  in  front  of  the 
body ;  as  the  arms  are  stretched  back  let  the  head  and  eyes  follow  a 
centre  line  down,  and  the  head  rest  upon  the  chest.  (Fig.  75.) 
Return  to  position  and  repeat. 

Make  the  left  leg  strong  and  repeat  the  exercise. 

55.  Strong  ami  and  head  oblique.  Right  leg  strong.  Lift  the 
right  arm  and  place  it  obliquely  out  from  body  toward  the  right. 
Draw  the  oblique  line  (see  exerdae  33)  in  front  of  body  to  waist 
level  at  left  side.  Turn  the  head  as  the  arm  moves  and  let  the  eyes 
follow  the  tips  of  fingers.     (Fig.  76.) 

Both  arras.  Lift  both  arms  to  a  position  obliquely  out  from 
body  at  the  right  side,  draw  the  oblique  line.  Let  the  eyes  be  on 
the  hand  farthest  from  the  body.     (Fig.  77.) 

Make  the  left  leg  strong  and  repeat. 

Keep  the  body  in  a  strong,  erect  position. 

Let  the  head  and  arms  work  in  perfect  harmony,  and  with  con- 
trol manifesting  strength. 


CHAPTER  XL 


' '  I  would  have  an  outward  decorum  and  pleasing  manner  cultivated  at  the 
same  time  with  the  mind.  It  is  not  a  soul,  not  a  body,  we  educate  ;  it  is  a  man. 
Out  of  this  one  we  must  not  make  two." — Montaigne. 

56.  Touch  toe  front  five  times ;  step.  Ist  attitude.  Touch 
the  toe  of  the  left  foot  in  front  five  times  (Fig.  78) ;  step  forward 
firmly  upon  the  left  foot  (the  back  heel  is  lifted).  Touch  the  right 
toe  front  five  times  and  step  forward  upon  the  right  foot.  Go 
back  two  steps  to  reach  the  original  position.  Kepeat,  starting 
with  the  right  foot. 

When  the  toe  touches  the  floor  let  it  be  with  an  elastic  movement 
of  the  entire  leg.     Keep  the  body  erect. 

Exercises  56,  57,  58  and  59  are  all  of  great  aid  in  acquiring  a 
good,  strong  carriage  of  the  body.     In  taking  the  forward  step 
stretch  the  ball  of  the  foot  and  let  the  weight  of  tlie  body  go  directly 
upon  it  and  not  rest  at  all  upon  the  heel.     Let  the  thought  be  at  . 
the  chest  in  going  forward.     Step  witli  strength  and  decision. 

The  exercise  may  be  taken  in  the  following  manner,  if  taking 
two  steps  forward  leads  to  confusion  on  account  of  carrying  the 
pupils  out  of  their  places. 

1st  attitude ;  touch  right  toe  front  five  times ;  step  ;  back  to  Ist 

(106) 


Fig.  77.    Both  arms  and  head  oblique. 


Fig'.  78.    Touch  toe  front  five  times. 


Fig.  79.    Ealse  knee. 


(107) 


Fig.  80.    Raise  loot  backward. 


Fig.  81.    SwlDg  Ii-ee  leg  five  times. 


Fig.  82.    Twist  body  to  right. 


Fig.  83.    Butterfly  movement,  arms  overhead.  Fig.  84.    Butterfly  movement,  arms  In  Iront. 

(109) 


Leg  Exercises  111 

attitude  ;  touch  left  toe  front  five  times ;  step ;  back  to  1st  attitude. 
Repeat. 

The  counting  for  this  exercise  is  as  follows :  1st  attitude ;  touch 
(right  toe),  2,  3  ;  touch,  2,  3  ;  touch,  2,  3  ;  touch  2,  3  ;  touch  2,  3  ; 
step,  2,  3 ;  hack  (to  Ist  attitude),  2,  3 ;  wait,  2,  3 ;  touch  (left  toe), 
2,  3,  etc. 

57.  Raise  knee,  stretch  leg  ;  step.  Ist  attitude.  Lift  the  right 
knee  (Fig.  79),  straighten  the  leg  and  stretch  it  out  in  front ;  step 
forward  onto  the  right  foot  (the  left  heel  lifted).  Lift  the  left 
knee,  stretch  the  leg,  and  step.  Take  two  steps  back  to  starting 
place.     Repeat,  beginning  with  the  left  leg. 

What  was  said  regarding  the  manner  of  taking  exercise  56  ap- 
plies to  this  exercise  as  well. 

58.  Raise  foot  backward,  swing  forward  ;  step. 

Ist  attitude  ;  lift  the  right  foot  backward  (the  leg  is  bent  at  the 
knee.  Fig.  80) ;  swing  the  foot  forward,  and  step  upon  the  right 
foot.  Lift  the  left  foot  backward,  swing  the  leg  forward  and  step. 
Take  two  steps  back  to  position. 

Repeat,  starting  with  the  left  foot. 

59.  Swing  leg  five  times  ;  step.  Ist  attitude.  Swing  the  right 
leg  front  and  back  five  times ;  step.  Swing  the  left  leg  front  and 
back  five  times ;  step.     Take  two  steps  back  to  position.     (Fig.  81.) 

Repeat,  starting  with  the  left  leg. 

60.  Twist  body  to  right ;  twist  body  to  left. 

1st  attitude.     Keeping  the  feet  firmly  placed  in  1st  attitude  all 


112  Physical   Culture 

through  the  exercise,  turn  the  body  around  as  far  as  possible  to  the 
right,  turning  at  the  ankles  and  at  the  waist.     (Fig.  82.) 

Turn  back  to  position  and  repeat. 

Turn  to  the  left  in  the  same  manner. 

Let  the  arras  be  relaxed,  hanging  at  side. 

This  exercise  gives  strength  to  the  ankles  and  strength  and  flexi- 
bility to  the  muscles  of  the  waist. 


CHAPTER  XII. 


FANCY  STEPS. 

"  Once  again  we  dance  in 
Steps  sedate  and  slow, 
Such  as  maids  advanced  in 
Fifty  years  ago." 

61.  Butterfly  moyement.  2nd  attitude.  Lift  the  arms  at  side 
to  shoulder  level.  Tarn  the  palms  up.  Arch  over  head  (Fig.  83), 
and  swing  down  in  front  of  body,  meeting  backs  of  hands  below 
waist.  (Fig.  84.)  Return.  The  following  diagram  shows  the 
movement  of  the  arms. 


62.  Butterfly  movement  with  foot  extension. 

As  the  arms  swing  over  head  and  down  in  front  of  body  rise  on 

toes  ;  lower  the  heels  as  the  arms  swing  back  to  place. 

(113) 


114  Physical   Culture 

63.  Balance  step.  1st  attitude.  Touch  the  right  toe  front ; 
return  to  first  attitude  ;  touch  the  left  toe  front ;  return  to  1st 
attitude.     Repeat.     (Fig.  85.) 

Touch  the  toe  front  with  elasticity,  and  as  it  returns  to  position 
let  the  weight  change  with  perfect  ease. 

Balance  step  teaches  poise  and  the  easy  changing  of  the  weight 
of  the  body  from  one  foot  to  the  other, 

64.  Balance  step  with  arm  work.  Repeat  the  foot  work,  and 
arch  the  arms  over  head  as  the  free  toe  touches  in  front.  (Fig.  86.) 
As  the  foot  returns  to  position,  the  arms  return  to  side. 

Observe :  palms  down  in  the  arch  ;  in  placing  arms  at  side,  turn 
the  palms  down  below  shoulder  level. 

Law.     In  the  arch  and  in  the  half  arch  the  free  toe  is  front. 

65.  Basket  step.  Ist  attitude.  Touch  the  right  toe  to  the  left 
side ;  return  to  1st  attitude ;  touch  the  left  toe  to  the  right  side  ; 
return  to  1st  attitude.     Repeat.     (Fig.  87.) 

Keep  the  body  erect  and  facing  front. 

66.  Basket  step  with  arm  work.  As  the  free  toe  touches  at  the 
side,  arch  the  arms  over  head,  turning  the  body  toward  the  side  but 
keeping  the  face  toward  the  front.  (Fig.  88.)  The  head  is  thrown 
back  over  the  shoulder.  The  body  is  turned  directly  facing  the 
side  but  is  held  erect. 

Balance  and  Basket  steps  may  be  combined.  Touch  the  free  toe 
front  and  then  to  the  side.  Also  with  arm  work,  arch  the  arms  in 
front,  and  then  turn  the  body  to  the  side  and  let  the  eyes  look  over 
the  shoulder  toward  the  front. 


Fig.  85.    Balance  step. 


Fig.  86.    Balance  step  with  arcli. 


Fig.  87.    Basket  step. 


(115) 


Fig.  88.    Basket  step  with  arch. 


Basket  Step  with  Arch 


11? 


Fig.  88.    Basket  step  with  arch. 


Basket  Step 


119 


Basket  stap. 


Balance  Step 


121 


^ 


!i- 


I 


Balance  step. 


Fancy  Steps  123 

67.  The  Yankee  Doodle  Walk.  (Taken  to  the  tune  "  Yankee 
Doodle ".)  2nd  attitude.  Kise  on  toes  (Fig.  52) ;  down  on  the 
front  heel ;  lift  the  back  foot  and  place  it  a  step  in  advance  ;  rise 
on  toes ;  down  on  the  front  heel ;  lift  the  back  foot  and  place  it  a 
step  in  advance ;  repeat,  taking  any  number  of  steps  forward.  To 
return',  rise  on  toes;  down  on  the  back  heel ;  lift  the  front  foot  and 
place  it  a  step  behind ;  rise  on  toes ;  down  on  back  heel ;  and  repeat 
until  the  starting  point  is  reached. 

This  will  prove  a  valuable  exercise  to  help  in  gaining  an  elastic 
walk ;  the  exercise  also  strengthens  the  muscles  of  the  calf  of  the 
leg. 

68.  The  Minuet  Walk.     (Mozart's  Minuet.)     Very  slow. 

"  With  the  minuet  in  fashion 
Who  could  fly  into  a  passion, 
And  would  wear  the  calm  they  wore 

Long  ago  ? 
In  time  to  come,  if  I  perchance 
Should  tell  my  grandchild  of  our  dance, 
I  should  really  like  to  say, 
'  We  did  it,  dear,  in  some  such  way, 

Long  ago.' " 

The  Minuet  Walk  is  the  exaggerated  "  perfect  walk  ". 

Start  with  the  right  leg  strong.  Bend  the  right  knee,  and  let  the 
head  fall  over  toward  the  right  shoulder.  Place  the  left  foot  in  front 
touching  the  toe  a  long  step  in  advance  of  the  right  foot.  The 
hands  may  hold  the  skirt  at  the  sides.  Hold  this  position  during 
the  first  three  counts. 

At  the  first  count  in  the  second  measure  let  the  forward  knee 
(the  left)  bend  slowly,  and  the  head  move  over  to  the  left  side,  lift 


124:  Physical  Cultubb 

the  back  heel ;  hold  this  position  during  the  second  count,  and  at 
the  third  count,  slowly  lift  the  back  foot  (the  right)  and  swing  it 
forward  lifting  from  the  floor  before  placing.  At  the  first  count 
of  the  third  measure  let  the  right  toe  go  down  upon  the  floor. 
Hold  this  position  during  the  second  and  third  counts  of  the  third 
measure  and  through  the  whole  of  the  fourth  measure. 

Upon  the  first  count  of  the  fifth  measure  bend  the  right  knee 
and  let  the  head  bend  over  to  the  right  side ;  hold  during  the 
second  count,  and  at  the  third  lift  the  back  foot  (the  left)  slowly 
and  swing  it  forward.  At  the  first  count  in  the  sixth  measure  let 
the  left  toe  go  down  to  the  floor.  Hold  during  the  second  and 
third  counts. 

At  the  first  count  in  the  seventh  measure  lift  the  left  foot  and  place 
it  back,  bending  the  left  knee,  and  moving  the  head  over  to  the 
left.  (This  is  the  low  bow.)  Hold  during  the  second  count;  at 
the  third  straighten  the  body,  and  at  the  first  count  in  the  eighth 
measure  lift  the  right  foot,  place  it  back,  bending  the  knee,  and 
moving  the  head  over  to  the  right  side.  Hold  during  the  second 
and  third  counts. 

The  feet  are  now  back  to  the  position  of  starting.  This  finishes 
the  first  strain  of  the  music. 

The  body  must  be  moved  with  great  freedom.  Perfect  control 
of  every  part  of  the  body  is  necessary,  to  move  steadily  and  to  hold 
the  positions  quietly  yet  not  rigidly. 

69.  Step  interlacing.  1st  attitude.  Touch  the  right  toe  front ; 
lift  the  right  foot  and  move  it  horizontally  out  to  the  right,  touch 
toe ;  let  the  right  heel  down  and  let  the  right  leg  bear  the  weight 
of  the  body ;  lift  the  left  foot  and  move  it  horizontally  over  toward 


Step   Interlacing 


125 


Fig.  89.    Step  interlacing. 


Fancy  Steps  127 

the  right,  placing  it  directly  behind  the  right  foot.     Bend  the  back 

knee  (the  left),  making  a  low  bow  ;  straighten  the  body  and  lift  the 

front  foot  (the  right),  and  place  it  obliquely  back  to  the  right  so 

that  it  is  on  a  horizontal  line  with  the  left  foot.     Lift  the  left  foot 

and  tonch  the  left  toe  front  of  the  right. 

In  the  following  diagram  the  crosses  show  the  positions  of  the 

feet,  the  lines  the  movements  made  by  the  feet,  and  the  arrows  the 

direction. 

Going  Out. 


To  return.  The  position  of  the  feet  now  is,  left  toe  touching 
floor  in  front  of  the  right  foot.  Lift  the  left  foot  and  place  it 
horizontally  out  toward  the  left,  touching  toe ;  let  the  left  leg  bear 
the  weight  of  the  body ;  lift  the  right  foot  and  place  it  behind  the 
left ;  let  the  weight  return  to  the  right  foot,  bend  the  right  knee, 
and  bow ;  straighten  the  body,  and  place  the  left  foot  obliquely 
back  toward  the  left  so  that  it  is  on  a  horizontal  line  with  the  right 
foot ;  lift  the  right  foot  and  touch  the  toe  in  front.  The  body  is 
now  in  the  position  with  which  it  started.     Repeat. 

The  following  is  the  diagram  showing  the  return.  The  arrows 
show  the  direction  of  movement. 


128 


Physical  Cultube 
Going  Back. 


70.  Step  interlacing  with  swinging  arms. 

Arch  the  arras  over  head  when  the  free  toe  touches  in  front,  at 
the  beginning  and  at  the  end  of  the  step.  In  the  bow  the  arms  are 
at  side. 

Fig.  89  shows  step  interlacing,  with  arm  work,  in  three  positions. 
In  the  figure  at  the  right,  the  right  toe  is  front  and  arms  arch 
overhead.  In  the  second  figure  the  left  knee  is  bending  in  the  bow. 
In  the  third  figure  the  left  toe  is  front  and  arms  arch  over  head. 

Step  interlacing  is  taken  to  waltz  time. 

71.  Pivot  and  kneel.  Place  the  left  foot  obliquely  back  touch- 
ing toe  ;  lift  the  heel  of  the  right  foot ;  with  the  toe  of  the  left 
foot  give  the  body  a  quick  push,  and  spin  the  body  half  way  around 
on  the  ball  of  the  right  foot ;  as  the  body  faces  in  the  opposite 
direction  to  that  it  faced  before,  bend  the  left  knee  and  by  a  slower 
bending  of  the  front  leg  (the  right)  let  the  body  down  upon  the 
left  knee. 

Rise,  and  repeat. 
Pivot  on  the  left  foot. 


ADVANCED    COURSE. 

CHOROGRAPHY   WORK 

WALTZ  TIME. 


CHAPTER  XIII. 


"All  gestures  may  be  very  well  delineated.  An  orator  gesticulating  before 
the  public,  resembles  a  painter  who  pencils  outlines  and  designs  upon  a  wall. 

"  The  reproduction  of  the  figures  of  gesture  is  called  CliorograpJiy. 

"This  exercise  in  gesture  has  two  advantages ;  it  presents  all  the  interest  of  the 
most  fascinating  drama,  and  is  the  best  means  of  gaining  suppleness  by  accus- 
toming ourselves  to  the  laws  of  gesture." — Delanmosne  on  Belsarte. 

For  the  foundation  principles  of  chorography,  see  the  Chart  and 
foregoing  explanation  in  Chapter  VII. 

The  work  given  in  the  following  chapters  will  be  of  assistance 
to  those  who  have  had  instruction  in  Chorography  work,  but  others 
the  writer  would  advise  not  to  attempt  to  teach  it  until  they  have 
had  the  living  teacher.  The  physical  gymnastics  explained  in  the 
first  twelve  chapters  are  complete  by  themselves,  and  include  quite 
as  much  as  is  usually  given  by  teachers. 

The  fact  that  the  figures  drawn  by  the  arm  are  drawn  upon  a 
concave  surface,  makes  it  diflicult  to  represent  them  with  clearness 
upon  a  flat  surface.  This  must  always  be  taken  into  consideration 
in  the  study  of  the  figures. 

Draw  each  figure  as  large  as  possible  and  as  far  away  from  the 
body  as  the  arm  will  reach. 

Let  the  accented  count  occur  at  a  given  point  in  each  figure. 

(181) 


132  Physical   Cultuee 

Emphasize  it  each  time  by  a  stretch  as  though  shading  the  figure 
in  drawing. 

Some  figures  are  better  drawn  in  one  set  of  counts,  others  taking 
two,  and  others  three. 

Start  at  the  arrow  and  return  to  the  arrow. 

Stretch  in  every  figure. 

72.  Shoulder  articulation. 


Make  the  right  leg  strong.  Lift  the  right  arm  to  shoulder  level 
in  front  of  body.  Draw  the  line  "  a  ".  Let  the  movement  up  and 
down  at  the  shoulder  produce  the  wavy  line  at  the  finger  tips. 
There  should  be  no  bending  at  the  elbow,  and  but  a  very  slight 
movement  in  the  hand.  The  thought  is  at  the  shoulder,  the  ex- 
pression in  the  hand.  The  line  extends  to  shoulder  level  out  at 
side.     Retrace. 

Make  the  left  leg  strong  and  draw  "  b  ". 

Draw  "  a  "  and  "  b  "  together. 

73.   Elbow  articulation. 


Right  leg  strong.     Draw  "a  ".with  right  arm. 

Start  at  shoulder  level  in  front  of  body ;  make  the  loops  by 


Chorogeaphy  Woek  133 

bending  the  arm  at  the  elbow ;  end  the  line  at  shoulder  level  out 
at  side.     Retrace. 

Change  the  strong  leg  and  draw  "  b  ". 

Draw  "  a  "  and  "  b  "  together. 

74.  Wrist  articulation. 


Right  leg  strong.     Use  right  arm. 

Start  over  head,  draw  "  a ",  away  from  body  out  at  side,  in  at 
waist  in  front  of  body.    Retrace. 

Change  the  strong  leg  and  draw  "  b  ".     Draw  "  a  "  and  "  b  " 
together. 

Do  not  bend  the  arm  at  the  elbow. 

76. 


134  Physical   Culture 

Right  leg  strong.     Draw  "  a  "  with  right  arm. 

Start  over  head,  swing  the  arm  down  and  loop  at  shoulder  level 
obliquely  out  from  body;  in,  to  front  of  body  at  waist  level,  and 
out  and  back  at  waist  level.     Retrace. 

Change  the  strong  leg  and  draw  "  b  "  with  left  arm. 

Draw  "  a  "  and  "  b  "  together. 


CHAPTER  XIV. 


A  movement  should  never  be  mixed  with  a  facial  twist."— Belsarie. 

76.  The  double  curve. 


Right  leg  strong.     Draw  "a"  with  the  right   arm. 
Start  over  head.     Swing  out  away  from  body  at  shoulder  level, 
then  in  toward  body  at  waist  level,  and  out.     Retrace. 
Change  the  strong  leg  and  draw  "  b  "  with  the  left  arm. 


Draw  "  a  ''  and  "  b"  together. 


77. 


136  Physical  Culture 

Eight  leg  strong.     Draw  "  a  "  with  the  right  arm. 

Start  out  at  right  side  at  shoulder  level.  Turn  palm  up.  Swing 
up  over  head  and  down  in  front  of  body,  out  away  from  body 
at  waist  level,  and  back.     Retrace. 

Make  left  leg  strong. 

Draw  "  b  "  with  the  left  arm. 

Draw  "  a  "  and  "  b  "  together. 

78. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  out  from 
body  in  front  of  face ;  swing  down  in  front  of  body,  loop  at  waist 
level,  swing  out  at  side,  up  at  side  to  head  level,  then  in  at  head, 
making  the  last  curve  by  an  electric  movement  of  the  wrist  directly 
over  the  head.     Retrace. 

Make  the  left  leg  strong  and  draw  "  b  ". 

Draw  "  a  "  and  "  b  "  together. 


Choeogeaphy  Woek 


13T 


79. 


Eight  leg  strong.  Draw  "  a  "  with  right  arm.  Start  over  head ; 
swing  down  and  out  toward  side,  ending  the  arc  at  shoulder  level 
obliquely  out  from  body ;  draw  the  oblique  line  down  and  back. 
Retrace. 

Draw  "  b  "  with  the  left  arm,  making  the  left  leg  strong. 

Draw  "  a  "  and  "  b  "  together. 


CHAPTER  XY. 


"Most  bodies  are  a  mass  of  scars,  the  leftover  pieces  of  past  cares.  And 
what  is  more  deplorable,  it  is  easiest  to  express  ugly  and  nervous  feelings,  so  that 
finally  a  man  finds  that  the  complicated  harmonies  expressive  of  higher  aims  fall 
into  disuse.  '  The  cup  and  saucer  is  broken  in  the  morning,  and  we  go  around 
with  the  pieces  of  broken  china  in  our  face  and  voice  all  day.'  " —Russell. 

Trace  and  shade.     Horizontal,  Vertical,  and  Oblique. 
80.  Horizontal. 


>jNj^Nrsrsrsl^  >^^2.^ix?^'ix^< 


Make  the  right  leg  strong.  Draw  "  a "  with  the  right  arm. 
Start  at  shoulder  level  in  front  of  body  ;  draw  at  shoulder  level 
out  to  side  of  body.  For  the  position  of  the  hand  in  the  upward 
movement  see  Fig.  20 ;  in  the  downward  movement,  Fig.  21. 
Trace  and  shade,  the  strength  coming  into  tlie  hand  in  the  down- 
ward stroke. 

Retrace,  shading  as  before  in  the  downward  stroke. 

Change  the  strong  leg  and  draw  "  b  ". 

Draw  "  a  "  and  "  b  "  with  both  arms. 

(138) 


Chorography  Work 


139. 


81.  Tertical. 


Make  the  right  leg  strong.  Draw  "a"  with  right  arm.  Start 
over  head,  draw  the  waving  line  in  front  of  body  down  to  side. 
Make  left  leg  strong ;  draw  "  b  "  with  the  left  arm. 

Draw  "a"  and  "b"  together. 


140 


Physical  Culture 
82.  Oblique. 


Make  the  right  leg  strong.     Draw  "  a  "  with  the  right  arm. 
Start  at  head  level  out  at  the  right  side,  draw  to  waist  level  at 
left  side.    Retrace. 

Make  the  left  leg  strong  and  draw  "  b  "  with  the  left  arm. 
Draw  "  a  "  and  "  b  "  together. 

83. 


Make  right  leg  strong.     Draw  "  a  "  with  the  right  arm. 

Start  at  head  level  in  front  of  head,  swing  out  to  shoulder  level  at 


Chorogbaphy  "Work 


141 


side;  draw  the  oblique  line  into  waist  level  in  front  of  body  ;  draw 
the  horizontal  line  at  waist  level  out  at  side.     Retrace. 
Left  leg  strong,  draw  "  b  ". 


Draw  ''  a  "  and  "  b  "  together. 


84. 


Right  leg  strong.     Draw  "a"  with  right  arm. 

Start  at  waist  level  obliquely  out  from  body ;  swing  in  toward 
body,  down  and  out  at  side,  up  to  shoulder  level,  then  in  at 
shoulder  to  front  of  body,  up  in  front  of  the  face  to  a  point 
above  head,  then  out  away  from  body  at  head  level.     Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b"  together. 

85. 


Right  leg  strong.     Draw  "a"  with  the  right  arm.     Start  over 


142  Physical  CuLirrRE 

head,  draw  the  vertical  line  down  in  front  of  body  to  waist  level. 

Turn  the  palm  up  and  draw  the  horizontal  line  out.     Retrace. 

Left  leg  strong  ;  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

Draw  the  above  figure  with  headwork.  Let  the  eyes  follow  tips 
of  fingers. 

In  drawing  "  a  "  and  "  b  "  together  with  headwork,  when  draw- 
ing the  vertical  line  let  the  head  follow  a  centre  line.  In  drawing 
the  horizontal  line  out,  let  the  head  bend  back. 


CHAPTER  XYI. 


"As  remarks  a  suggestive  writer,  the  first  requisite  to  success  in  life  is  to  be  '  a 
good  animal '  ;  and  to  be  a  nation  of  good  animals  is  the  first  condition  to  national 
prosperity.  Already  under  the  keen  competition  of  modern  life,  the  application 
required  of  almost  everyone  is  such  as  few  can  bear  without  more  or  less  injury. 
Already  thousands  break  down  under  the  high  pressure  they  are  subject  to.  If 
this  pressure  continues  to  increase,  as  it  seems  likely  to  do,  it  will  try  severely  all 
but  the  soundest  constitutions.  Hence,  it  is  becoming  of  especial  importance 
that  the  training  of  children  should  be  so  carried  on  as  not  only  to  fit  them  men- 
tally for  the  struggle  before  them,  but  also  to  make  them  physically  fit  to  bear 
its  excessive  wear  and  tear." — Herbert  Spencer. 

86.  The  Capital  Stem. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  over 
head,  swing  down  and  out  at  waist  level,  up  to  shoulder  level  and 
in  to  front  of  body.     Retrace. 

Left  leg  strong  and  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

(143) 


144  Physical  Cultube 

87.  The  Capital  Stem  with  loop  at  shoulder. 


Right  leg  strong.     Draw  "  a  "  with  the  right  arm. 
Same  as  86  with  loop  obliquely  out  from  body  at  shoulder  level. 
Make  the  loop  with  wrist  articulation. 

Left  leg  strong ;  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

88. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  over 
head ;  loop  obliquely  out  from  body  at  shoulder  level ;  swing  in 
toward  body  at  waist  level ;  out  at  side,  and  draw  the  oblique  line 
up  to  shoulder  level  out  at  side.    Retrace. 

Left  leg  strong  ;  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 


Choeography  Work 


145 


89.  Serpentine  figure. 


Right  leg  strong.     Draw  "  a  "  with  the  right  arm. 

Start  at  shoulder  level  out  at  side  (palm  up) ;  swing  up  over 
head,  down  in  front  to  shoulder  level ;  out  at  shoulder  level  stretch- 
ing back ;  in  to  front  of  body  a  little  above  waist  level ;  out  at 
waist  level  stretching  back.     Retrace. 

Left  leg  strong,  draw  "  b  "  with  the  left  arm. 

Draw  "  a  "  and  "  b  "  together. 


CHAPTER  XVII. 


'  In  life's  small  things  be  resolute  and  great 
To  keep  thy  muscle  trained  ;  know'st  thou  when  Fate 
Thy  measure  takes,  or  when  she'll  say  to  thee, 

'  I  find  thee  worthy  ;  do  this  deed  for  me  '  ?  " 

— James  Russell  Lowell. 


90. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  over 
head  ;  draw  the  horizontal  line  (palm  up)  out  at  side  keeping  at 
head  level ;  draw  the  oblique  zig-zag  line  in  to  waist  level  in  front 
of  body  ;  the  horizontal  line  out  at  waist  level  (palm  up)  stretching 
back.     Retrace,  turning  the  palm  down  in  the  horizontal  lines. 

(146) 


Chokographt  Work 


147 


The  points  in  the  oblique  line  are  made  with  the  hand  by  bend- 
ing at  the  wrist. 

Left  leg  strong,  draw  "  b  ". 
Draw  "  a  "  and  "  b  "  together. 

91. 


Right  leg  strong.  Draw  "a"  with  the  right  arm.  Start  over 
head  ;  draw  the  horizontal  line  at  head  level  out  to  side ;  make  the 
loops  with  the  hand  by  a  rotary  movement  at  the  wrist,  down  to 
waist  level  in  front  of  body  ;  make  the  waving  line  out  to  side  at 
waist  level,  stretching  back.     Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

92. 


148 


Physical  Cultube 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  over 
head,  draw  the  horizontal  line  out  at  head  level ;  by  a  slight  turn- 
ing of  the  hand  from  side  to  side  draw  the  waving  line  to  waist 
level  in  front  of  body ;  draw  the  horizontal  waving  line  out  at 
waist  level,  stretching  back.     Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

93. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  over 
head.  Stretch  down  and  out  away  from  body  at  shoulder  level ; 
toward  body  a  little  below  waist  level ;  draw  the  horizontal  line 
out  to  side  at  waist  level  stretching  back ;  draw  the  oblique  line 
up  to  head  level  at  side  of  body.     Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

"  The  student  should  not  be  a  servile  copyist.  In  the  arrange- 
ment of  his  effects  he  must  copy,  imitate  and  compose.  Let  him 
first  reproduce  a  fixed  model,  the  lesson  of  the  master.  This  is  to 
copy.  Let  him  then  reproduce  the  lesson  in  the  absence  of  the 
master.  This  is  to  imitate.  Finally  let  him  reproduce  a  fugative 
model.    This  is  to  compose." 


CHAPTER  XYIII. 


"  The  work  which  a  man  can  perform  does  not  only  depend  on  the  real 
strength  of  his  muscles,  but  also  on  his  knowledge  of  the  way  in  which  to  use 
them." — Femand  Lagrange,  M.  D. 

94. 


Eight  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  at  head 
level  out  at  the  right  of  head,  swing  toward  head,  down  and  out 
making  the  loops  as  in  the  figure  by  a  rotary  movement  at  the 
shoulder  joint.     Return. 

(149) 


150  Physical   Culturb 

Left  leg  strong,   draw   "b".     Draw  "a"  and   "b"   together. 
Count  three  for  each  loop. 

95. 


Right  leg  strong.  Draw  "a"  with  the  right  arm.  Start  in 
front  of  head,  swing  over  head  and  down  to  shoulder  level  at  side ; 
draw  the  oblique  line  in  to  front  of  body  at  waist  level;  swing 
down  and  out  at  side  ending  the  arc  at  waist  level,  stretching  back. 
Retrace. 

Left  leg  strong,  draw  "b  ".     Draw  "  a"  and  "b"  together. 

96. 


Chobographt  Wokk  151 

Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  at  head 
level  in  front  of  body ;  draw  the  horizontal  line  out  to  side,  palm 
up  ;  make  the  loop  by  turning  the  hand  palm  down ;  swing  down 
at  side  of  body,  stretching  back ;  bring  the  arm  in  toward  body 
below  waist  level ;  loop  in  front  of  body  at  waist  level.     Retrace. 

Make  the  left  leg  strong.     Draw  "  b  ". 

Draw  "a"  and  "  b  "  together. 


CHAPTER  XIX. 


' '  The  body  is  trained  that  it  may  be  a  better  medium  for  the  soul.  All  ex- 
pression of  the  being  is  through  the  body,  and  any  obstructions,  whether  they 
arise  from  unused  muscles,  consciousness  of  defects,  or  lack  of  control,  are  so 
many  barriers  to  the  full  and  free  expression  of  that  for  which  alone  the  body 
exists.  Body  and  soul  are  a  unit  and  they  must  be  developed  harmoniously. 
'  Nor  soul  helps  body  more  than  body  soul,'  must  be  the  belief  of  the  teacher  who 
would  secure  all-sided  growth." — F.  8.  Parker. 


97. 


Right  leg  strong.     Draw  "  a  "  with  the  right  arm. 

Start  in  front  of  body  at  shoulder  level ;  swing  down  and  out  to 
waist  level  at  side,  up  over  head  and  down  to  shoulder  level  in 
front  of  body  ;  draw  the  horizontal  out  to  side  at  shoulder  level ; 
stretch  back.     Retrace. 

Left  leg  strong,  draw  "  b  ".    Draw  "  a  "  and  "  b  "  together. 

(153) 


Chorogkapht  Wokk 


153 


98. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  at  head 
level  in  front  of  body,  draw  the  horizontal  line  out  to  side  (palm 
up) ;  draw  the  oblique  line  to  waist  level  in  front  of  body  ;  draw 
the  horizontal  line  at  waist  level  out  to  side,  stretching  back  (palm 
up).  Retrace,  the  palm  of  the  hand  turned  down  in  the  horizontal 
lines. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 


164 


Physical  Culture 


99. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  over 
head ;  make  the  first  loop  at  head  level,  the  second  at  shoulder 
level ;  swing  out  away  from  body,  then  in  toward  body,  making 
the  large  loop  at  waist  level ;  stretch  back  at  side.    Retrace. 

Left  leg  strong,  draw  "  b  ".    Draw  "  a  "  and  "  b  "  together. 

The  first  loop  is  for  elbow  articulation,  the  second  for  wrist,  and 
the  third  loop  for  shoulder  articulation. 


CHAPTER  XX. 


"My  body  is  the  medium  through  which  I  communicate  with  the  outward 
world.  If  I  would  realize  my  intention,  I  must  make  myself  capable  of  render- 
ing this  subjectivity  into  outward  objectivity.  My  body  is  not  naturally  fitting 
for  this  ;  it  conforms  only  to  the  physical  life  ;  the  organic  and  physical  impulses 
are  not  yet  the  results  of  the  promptings  of  my  spirit.  My  body  must  first  be 
trained  for  such  service." — Hegel. 


100. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  at  waist 
level  in  front  of  body ;  draw  the  arc  to  a  point  at  waist  level  at 
side  of  body ;  draw  the  oblique  line  up  to  head  level  at  side  of 
body.    Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

(155) 


156 


Physical   Culture 
101. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  down 
at  side,  below  waist ;  loop  at  waist  level ;  loop  at  shoulder  level ; 
loop  at  head  level,  stretching  out  at  side  at  head  level.    Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 


Chorogkaphy  Work 
102. 


157 


Right  leg  strong.  Draw  "  a "  with  the  right  arm.  Start  at 
waist  level,  in  front  of  body ;  swing  down  and  out  at  side ;  up, 
loop  at  shoulder  level  in  front  of  body  ;  loop  at  head  level ;  make 
the  curve  at  the  top  of  the  figure  by  an  electric  movement  of  the 
wrist. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 


CHAPTER  XXI. 


■  Of  all  Gk)d's  workes  which  doe  this  world  adorne, 
There  is  no  one  more  faire  and  excellant 
Than  human  body,  both  for  power  and  forme 
Whiles  it  is  kept  in  sober  government." 

— Edmund  Spenser. 


103. 


Eight  leg  strong.     Draw  "  a  "  with  the  right  arm. 

Start  at  head  level  in  front  of  body  ;  draw  the  horizontal  line 
out  to  side,  palm  up ;  make  the  loop  at  the  end  of  the  line  by  the 
turning  of  the  hand,  palm  down  ;  draw  the  oblique  line  to  waist 
level  in  front  of  body ;  loop,  turning  the  palm  up,  and  draw  the 
horizontal  line  out  at  side.     Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

(168) 


Chokoqraphy  Work 


159 


104. 


Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  over 
head ;  swing  the  arm  down,  loop  at  shoulder  level  obliquely  out 
from  the  body ;  swing  out  away  from  body  to  the  side ;  in  to 
front  of  body  at  waist  level ;  draw  the  horizontal  line  (palm  up)  at 
waist  level  out  to  the  side  of  body  ;  draw  the  oblique  line  up  to 
head  level,  at  side  of  body.     Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "  a  "  and  "  b  "  together. 

105. 


160  Physical  Culture 

Right  leg  strong.  Draw  "  a  "  with  the  right  arm.  Start  over 
head  ;  loop  at  head  level ;  swing  down,  loop  at  shoulder  level ;  and 
loop  at  waist  level,  stretching  back  at  side.     Retrace. 

Left  leg  strong,  draw  "  b  ".     Draw  "a  "  and  "  b  "  together. 


ESTHETIC  WORK 

(SLOW  MUSIC.) 


CHAPTER  XXII. 


"  The  office  of  sesthetic  gymnastics  is  to  unite  in  a  harmonious  whole  the  limbs 
of  the  human  body  which  have  been  strengthened  and  rendered  elastic  by  physi- 
cal gymnastics  ;  to  regulate  their  movements  by  the  fixed  laws  of  beauty,  so  that 
the  emotions  of  the  soul  may  be  clearly  and  beautifully  expressed." 

The  aesthetic,  or  harmonic  movements  should  not  be  taken  by 
pupils  until  their  bodies  have  been  well  trained  and  developed  by 
the  exercises  in  the  physical  gymnastics. 

The  movements  are  taken  to  count  of  six,  very  slowly,  and  per- 
fect control  must  be  maintained  at  every  point.  The  aesthetic  work 
is  not  weak  and  meaningless,  but  it  is  the  strongest  kind  of  work 
and  most  helpful  in  producing  harmony  throughout  the  body. 

HAKMONIC  MOYEMENT.    {Slow  music.) 
106.  Head  movement. 

Take  Ist  attitude. 

Drop  the  head  slowly  upon  the  chest.  Let  it  hang  as  a  heavy 
ball.  Slowly  roll  the  head  over  to  the  right  shoulder,  then  toward 
the  back,  over  to  the  left  shoulder,  and  down  to  the  front.  Lift 
the  head  slowly  to  the  erect  position,  bend  slightly  back,  then  up 
to  position. 

The  backward  bending  of  the  head  at  the  end  of  this  exercise  is 
to  prevent  stopping  a  little  short  of  the  erect  position. 

(163) 


164  Physical  Culture 

Relax  completely  all  the  muscles  and  joints  of  the  neck.  The 
adjoining  muscles  should  be  passive  and  the  head  very  heavy. 

107.  Shoulder  movement. 

1st  attitude.  Let  the  arms  be  entirely  relaxed  and  hang  heavily 
at  the  side.  Lift  the  shoulders  slowly  as  high  as  possible  ;  while 
lifted  move  them  back  ;  slowly  lower  and  then  bring  to  the  front ; 
lift  again,  and  let  fall  to  place. 

This  must  be  an  even,  perfectly  controlled  movement.  Keep 
the  head  in  an  erect  position  and  perfectly  quiet. 

This  movement  lifts  the  upper  ribs  and  so  enlarges  the  cavity  of 
the  chest.  It  also  calls  into  use  the  muscles  of  the  upper  part  of 
the  back,  as  well  as  those  of  the  shoulders  and  sides. 

108.  Shoulder  movement  with  arms. 

Ist  attitude.  Lift  the  arms  at  side  to  shoulder  level ;  turn  the 
palms  up ;  place  the  tips  of  fingers  on  shoulders.  (Fig.  33.)  Re- 
peat the  above  shoulder  movements,  moving  the  elbows  up,  back, 
down  and  front  as  the  shoulders  are  moved.     (Fig.  90.) 

109.  Body  over,  touch  floor.     Twisting  of  waist  muscles. 

Ist  attitude.  Keep  the  legs  straight  during  this  exercise.  Re- 
lax the  muscles  and  joints  of  the  neck,  allowing  the  head  to  slowly 
fall  upon  the  chest ;  gradually  relax  the  muscles  and  joints  of  the 
back,  bending  at  every  joint  in  the  spinal  column.  Let  the  arms 
fall  down  in  front,  until  the  hands  touch  the  floor.  (Fig.  91.) 
Move  the  body  over  towards  the  right  (Fig.  92),  letting  the  head 
fall  upon  the  right  shoulder ;  then  toward  the  back,  bending  back 
only  slightly ;  move  from  the  backward  position  toward  the  left 
side,  allowing  the  head  to  fall  upon  the  left  shoulder ;  then  to  the 


Body  Over,  Touch  Flooe 


165 


1 

■ 

^^^^^F^ 

B 

Fig.  91.    Body  over,  touch  aoor. 


Twisting  of  Waist   Muscles 


167 


Fig.  93.    Twisting  of  waist  muscles. 


\ 
\ 

L       j 

■v*4i 


Fig.  90.    Shoulder  movement  with  arm.s. 


Flj:.  9.3.    Oblique  leather  m  jvement ;  1st  position. 


Fig.  94.    Oblique  feather  movement ;  2nd  position.  Fig.  95.    Oblique  feather  movement ;  ard  position. 

(169) 


Esthetic   Work  ITI 

front,  completing  the  rotation.  Slowly  raise  the  body ;  move  it 
back  of  body  line,  then  up  to  the  erect  position.  Kepeat  the  exer- 
cise, making  the  rotation  in  the  reverse  order. 

This  exercise  calls  into  play  nearly  every  muscle  of  the  body, — 
all  the  muscles  of  the  abdomen  and  sides,  and  most  of  those  of  the 
back.  It  produces  a  stretching  of  the  walls  of  the  abdomen  and 
tends  to  excite  the  action  of  all  the  abdominal  organs. 


CHAPTER  XXIII. 


"Grace  should  not  be  sacrificed  to  strength,  and  all  systems  of  physical  devel- 
opment are  defective  which  do  not  recognize  this  truth.  It  is  possible  for  the 
body  to  be  as  beautiful  in  grace  as  it  is  redundant  in  force. 

"Unity  in  poise,  harmony  in  movement,  should  enter  in  to  all  gymnastic  work, 
and  concentration  of  mental  energies,  make  the  hour  of  physical  exercise  one  to 
stimulate  all  selfhood.  Subtlety  will  thus  be  added  to  strength,  and  the  psychic 
radiate  and  refine  the  physical." 

{Slow  music.) 

110.  Feather  movement. 

Third  attitude,  right  leg  strong,  left  leg  back,  obliquely  touching 
toe.  Lift  the  right  arm,  very  slowly,  up  in  front  of  body  to  a  posi- 
tion over  head.  Let  the  hand  be  passive.  (Fig.  20.)  Lower  the 
arm  with  the  hand  bent  slightly  back  from  the  wrist.  (Fig.  21.) 
Repeat. 

Both  arms.     Lift  both  arms  in  the  same  manner. 

Make  the  left  leg  strong,  and  repeat  with  the  left  arm  alone ; 
then  with  both  again. 

Keep  the  body  erect  and  perfectly  quiet.  Lift  the  arms  with 
strength,  and  make  the  movement  slow  and  steady. 

111.  Oblique  feather  movement. 

Third  attitude.  Right  leg  strong,  left  back  obliquely  touching 
toe.  Place  the  hands  in  front  of  the  body,  the  tips  of  fingers  meet- 
ing.     (Fig.    93.)      Move   the   arms  slowly  obliquely  away  from 

(172) 


Second  A^^)  Third  Fingers  Strong 


173 


^•^••*t 


■Wk' 


yf 


Fig.  96.    Second  and  third  Angers  strong,  toward  face. 


Fig.  97.    Second  and  third  Angers  strong,  away  Fig.  98.    Second  and  third  Angers  strong,  out 

from  face.  with  head  movements. 

(176) 


Esthetic  "Work  177 

body,  the  right  up  and  the  left  down  towards  the  left  side.     (Fig. 
94.)    Return  (Fig.  95)  to  1st  position.     (Fig.  93.) 

112.  Feather  moyement  with  finger  indications. 

Third  attitude.  Right  leg  strong,  left  back  obliquely  touching 
toe.  Take  the  feather  movement,  as  in  exercise  109,  with  the  first 
finger  strong^  i.  e.,  dropped  below  the  other  fingers  in  the  upward 
movement.  In  coming  down  all  fingers  should  be  of  equal  impor- 
tance.    Repeat  the  exercise  with  both  arms. 

Take  the  movement  making  tlie  second  finger  strong ;  then  the 
third  finger  ;  and  then  the  second  and  third  together. 

"  The  orator  who  uses  his  fingers  io  gesticulation,  gives  proof  of  great  delicacy 
of  mind." — Delaumosne on  Delsarte. 

113.  Feather  movements  growing  into  poses. 

Take  any  of  the  feather  movements  in  easercisesllOy  111  and  112, 
and  hold  the  position  gained  at  any  point  in  the  movement  for  a 
measure,  then  slowly  change  to  another  position. 

The  eyes  may  follow  the  movement  of  the  hand. 

Make  the  second  and  third  fingers  strong,  lift  the  arms  slowly, 
move  hands  toward  face  (Fig.  96)  and  away  from  face.     (Fig.  97.) 

Take  exercise  112  with  head  movements  obliquely  back.  (Fig.  98.) 

The  object  of  exercise  112  is  the  education  of  the  fingers.  The 
movements  give  control  over  the  fingers  that  each  may  be  perfectly 
free  in  its  expression. 

The  first  finger  denotes  strength  and  firmness, — is  the  indicator. 

The  second  finger  is  used  to  express  anything  carneous  or  humid. 

The  third  finger  denotes  delicacy. 

The  second  and  third  fingers  together  are  used  in  the  expression 
of  love. 


CHAPTER  XXIV. 


"  She  is  most  fair,  and  there  unto 
Her  life  doth  rightly  harmonize  ; 
Feeling  or  thought  that  was  not  true 
Ne'er  matie  less  beautiful  the  blue, 
Unclouded  heaven  of  her  eyes." 

— James  Russell  Lowell. 

(Slow  music.) 

114.  Hand  whirl,  growing  into  arm  whirl. 

Third  attitude.  Right  leg  strong,  left  back  obliquely  touching 
toe.  Lift  the  right  arm  to  shoulder  level  in  front  of  body,  the 
hand  dropped  from  the  wrist.  Move  the  hand  slowly  up  and 
down  from  the  wrist,  taking  care  to  have  perfect  freedom  in 
every  part  of  the  hand.  Then,  slowly  turn  the  hand  in  a  rotary 
movement  from  the  wrist,  whirling  out.  Let  the  whirl  grow 
larger  and  larger  until  the  whole  arm  is  turning  slowly  from  the 
shoulder.  The  tips  of  the  fingers  will  then  be  tracing  a  circle 
which  extends  from  the  front  of  the  body,  up  over  head  and  out  as 
far  as  the  arm  will  reach  at  side. 

Repeat  with  both  arms. 

Change  the  strong  leg  and  repeat  with  the  left  arm. 

It  must  be  borne  in  mind  that  all  of  these  harmonic  movements, 

although  they  are  made  very  slowly,  are  never  to  be  made  lightly 

(178) 


^i^ 


\ 


KNEELING    ^VITH:    A.RM:    ^VORK. 

(179) 


Kneeling  With    Arm  Work 


181 


Kneeling  with  arm  work. 


jEsthetic   Work  183 

without  strength.  Stretch  in  every  movement,  and  let  each  be 
made  so  smoothly  and  with  such  control  that  a  pause  can  be  made 
at  any  time  without  a  jar  upon  the  harmony. 

115.  Kneeling. 

Third  attitude.  Place  the  left  foot  back  as  far  as  it  will  reach, 
touching  the  toe.  Keeping  the  upper  part  of  the  body  erect  and 
the  weight  entirely  borne  upon  the  forward  leg,  slowly  bend  both 
knees  until  the  left  knee  rests  upon  the  floor.  The  body  should 
now  be  in  an  erect  position  over  the  left  leg  which  has  now  become 
the  strong  one.  The  right  foot  should  be  flat  upon  the  floor.  Lift 
the  toe  of  the  left  foot  and  place  it  out,  so  that  the  inside  line  of 
the  ankle  rests  flat  upon  the  floor. 

Rise  slowly  keeping  the  body  erect. 

116.  Kneeling  with  arm  work. 

While  kneeling,  repeat  any  of  the  harmonic  arm  movements, — 
the  "  feather  movements  "  or  "  hand  whirl  growing  into  arm  whirl." 


CHAPTER  XXV. 


"  True  gesture  is  largely  the  spontaneous  outgrowth  of  the  thought  and  feel- 
ing. Nothing  is  more  deplorable  than  a  gesture  without  a  motive.  Hence,  the 
student  should  not  aim  to  acquire  gesture  so  much  as  to  acquire  flexibility  of  the 
muscles,  and  habits  of  ease  and  grace  of  movement." 

{Slow  music.) 

117.  Body  sway  forwfird  and  backward. 

First  attitude.  Stand  with  the  weight  upon  the  balls  of  the  feet. 
Without  lifting  the  heels  from  the  floor,  slowly  poise  forward  until 
the  weight  is  borne  entirely  by  the  toes.  Then  slowly  move  back 
until  the  weight  rests  upon  the  heels,  and  forward  again  to  position. 

The  feet  are  not  changed  from  their  original  position  during  the 
exercise.     There  should  be  no  bending  of  the  back  or  the  head. 

118.  Serpentine  movement. 

Third  attitude.  Lift  both  arms  in  front  of  the  body  to  shoulder 
level.  Turn  the  palms  up  and  place  tips  of  fingers  on  shoulders. 
Move  the  forearm  out  in  front  of  body  once  more  ;  again  place  tips 
of  fingers  on  shoulders,  and  slowly  move  the  elbows  out  to  side  of 
body.  Straighten  the  arms  out  to  shoulder  level,  place  tips  of 
fingers  on  shoulders,  and  move  the  elbows  out  to  the  front  again. 
In  bending  the  arms,  bring  the  hands  out  to  front  of  body  once 
more.     Repeat  this  movement  three  times,  each  time  as  the  arms 

(184) 


-((Esthetic  Work  185 

are  unbended  lift  the  hands  a  little  higher  than  the  time  before  ; 

80  the  third  time  in  unbending,  the  hands  are  raised  up  as  high  as 
the  head,  and  then  put. 

119.  Figure   8,  second  finger  strong.     Draw  in  front,  at  side 
and  over  head. 


Third  attitude.  Make  the  right  leg  strong.  Lift  the  right  arm 
out  in  front  to  shoulder  level.  Make  the  second  finger  strong. 
Trace  the  figure  8  with  the  second  finger,  moving  the  hand  from 
the  wrist.  Draw  the  same  with  the  arm  placed  out  at  side  of  body 
at  shoulder  level ;  also  with  the  arm  stretched  over  head. 

Draw  the  same  with  the  left  arm  ;  draw  with  both  arms. 

(The  figure  drawn  with  the  left  hand  will  be  just  the  reverse  of 
the  one  drawn  with  the  right.) 


LESSONS  GRADED. 


PRIMAKY. — First  and  Second  Grades. 

Chapters  1,  2,  3  and  7. 

Foot  extension.     Chapter  5. 

Butterfly  movement  and  Balance  step,  Chapter  12. 

Chorography  work,— figure  85,  Chapter  15  ;  and  figure  86,  chap- 
ter 16. 

Note.— Extra  work  may  be  given  at  the  suggestion  of  the  supervising  teacher 
of  Physical  Culture. 

SECONDARY.— TAtV^  and  Fourth  Grades. 
Thoroughly  review  all  primary  work. 
Chapters  4  and  5. 
Basket  step,  Chapter  12. 
Chapter  13. 
Note. — Chapters  6  and  14  may  be  given  to  Fourth  Grade. 

INTERMEDIATE.— i^*fi{A  am.d  Sixth  Grades. 
Review  all  previous  work. 

Chapters  6,  8,  14 ;  figures  80,  81,  82,  and  83,  Chapter  15  ;  and 
figures  86,  87,  and  88,  Chapter  16. 

GRAMMAR. — Seventh  and  Eighth  Grades. 

Review  all  previous  work. 

Chapters  9,  10  and  11. 

(186) 


Lessons   Gkaded  187 

Figure  84,  Chapter  15. 
Chapters  17  and  18. 

Note. — Eighth  Grade,  review  all  of  past  work,  and  finish  first  twenty-one 
chapters. 

HIGH  SCHOOL. 
Junior  and  Middle  Classes. 
First  twenty-one  chapters. 

Senior  Class. 
General  Review.     Esthetic  course. 


CHAPTER  XXYI. 


THE  HEAD. 

1.  Shame,  Grief,  Humility, — hanging  down  of  the  head. 

2.  Arrogance  and  Pride, — thrown  back  a  little  to  one  side. 

3.  Firmness  and  Courage, — upright  and  firm  position. 

4.  Languor  and  Diffidence,— droped  or  inclined  to  one  side. 

5.  Dislike  and  Horror, — averted  head. 

6.  Attention, — leaning  forward. 

7.  Listening, — ear  turned  to  the  front. 

THE  HAND. 

1.  Pain, — (a)  mental,  upon  the  back   of  the  head  ;  (J)  physical, 
upon  the  forehead. 

2.  Shame, — upon  the  eyes. 

3.  Silence, — first  finger  laid  upon  the  lips. 

4.  Appeal, — arm  extended,  palm  turned  up. 

5.  Joy, — arm  lifted  over  head,  hand  full  of  life. 

6.  Thought, — first  finger  on  chin,  eyes  down. 

Y.  Dislike, — hand  thrown  back  from  the  wrist  as  though  pushing 
away  a  distasteful  object. 

THE  BODY. 
1.  Resolution  and  Courage,— body  erect,  in  the  attitude  of  ad- 
vancing. 

(188) 


Expression   of   Emotions  189 

2.  Pride, — body  thrown  back. 

3.  Condescension, — stooping  posture. 

4.  Reverence  and  Respect, — bending  of  the  body. 

THE  LOWER  LIMBS. 

1.  Desire  and  Courage, — weight  of  body  on  forward  leg,  back 
heel  lifted. 

2.  Timidity  and  Weakness, — bended  knees,  weight  on  back  foot. 

3.  Dislike  and  Fear, — back  foot  far  behind  the  front,  the  body 
shrinking  and  retiring. 

4.  Indecision, — one  foot  in  advance,  weight  equally  divided  be- 
tween the  two. 

5.  Antagonism,  Defiance, — weight  of  body  borne  by  back  leg, 
body  turned  slightly, — menacing. 

6.  Explosion,   Vehemence, — body   thrown    forward    upon    the 
front  leg,  which  is  bent  and  placed  far  in  advance  of  the  other. 

7.  Submission,  Prayer,— kneel. 

BOTH  ARMS. 

1.  Appeal, — both  arms  stretch  up,  palms  up ;  or,  out  in  front. 
3.  Prayer, — arms  stretched  up,  or  hands  crossed  upon  the  breast. 

3.  Love, — arms  out  in  front  with  the  head  inclined  toward  the 
object  of  affection. 

4.  Blessing, — arms  out  in  front,  palms  turned  down. 

5.  Joy  and  Abandonment, — the  arch  and  the  half  arch. 

6.  Entreaty, — arms  out  in  front  same  as  in  love,  head  not  in- 
clined. 

The  above  gestures  may  be  taken  to  slow  music,  changing  slowly 


190  '  Physical   Cultuke 

from  one  attitude  to  another.     The  following  poses  and  panto- 
mimes are  suggestive  to  teachers  : 

1.  "  Hush  !    Nightingale,  hush  ! "      Third  attitude,  strong  arm 
raised  in  dictation,  elbow  bent  and  first  fingers  lifted. 

2.  "  Till  I  listen  and  hear!"     Head  turned  for  listening. 

3.  "  Yon  glow  worms,  shine  out !  "     Strong  hand  shading  eyes, 
looking. 

4.  "  He  comes  !  My  young  lover."     Joy,  strong  arm  raised  over 
head. 

5.  "  On  with  the  dance  !  "     The  half  arch,  (2nd  attitude.) 

6.  "  For  I'm  to  be  Queen  of  the  May."     The  arch,  (2nd  attitude.) 
Y.  "  But  soft !     What  light  through   yonder  window  breaks  ? " 

Third  attitude,  pointing  with  strong  arm. 

8.  "  Give  your  children  food,  O,  Father  ! "     Appeal. 

9.  "  And  lift  up  a  prayer  to  the  blue,  quiet  sky."     Prayer  ; 
hands  crossed  on  breast,  kneeling  or  standing  in  third  attitude. 

10.  "  The  Old  Folks  at  HoTneP 

11.  "  Home  Sweet  Home.^'' 

12.  "  The  Star-Spangled  Banner:' 

13.  "  Believe  me,  if  all  these  endearing  young  charms." — Thomas 
Moore. 

14.  "  Up  Shannon's  Tide,  a  boat  slow  held  its  way." 


PIANO  SELECTIONS. 

(Abbangkd  by  NANNIE  JACKSON.) 

Use  only   waltzes  with  marked  rhythm. 


Exercises  in  Chaptees  I  and  II. 
a.  Patience  Waltz.     Sullivan, 
h.  Dreamland  Waltz. 
c.  Mollie's  Dream  Waltz. 

Exercises  in  Chapter  III. 
a.  Flowers  of  St.  Petersburg  Waltz.     Resch. 
h.  Auf  Wiedersehn. 

Exercises  in  Chapter  IV. 
a.  Flowers  of  St.  Petersburg  Waltz.  Resch. 
h.  In  Old  Madrid. 

Exercises  in  Chapter  V. 

a.  Love's  Dreamland.     Roeder. 

b.  Neapoli. 

c.  Little  Tycoon.     Spencer. 

Exercises  in  Chapter  VI. 
a.  Enticement.     Lange. 
h.  Venetian. 

c.  Neapoli. 

(191) 


192  Physical   Culture 

Exercises  in  Chapter  YII. 
a.  Where  the  Wild  Rose.     Strauss, 
h.  Sweetheart.     Sti'auss. 
0.  Love  Comes  Like  a  Summer  Sigh  (Tycoon).     Spencer. 

d.  Waltz  from  Wang. 

e.  Waltz  from  Ermine. 

(Time  must  be  accented  strongly  in  chart  work.) 

Exercises  in  Chapter  VI IL 
a.  Venetian  Waltz. 
h.  Where  the  Wild  Rose.     Strauss. 
0.  Modjeska  Waltz.     Lowthian. 
d.  Gondolier's  Waltz.     Sullivan. 

Exercises  in  Chapter  IX. 
a.  Happy  Birds  that  Sing.     (Waltz  Song.) 
h.  Venetian  Waltz  or  Enticement.     Lange. 

Exercises  in  CeJapter  X. 
a.  Illusioni  or  Waltz  from  "Sylvia". 
h.  Waltz  from  "  Olivette  ". 

Exercises  in  Chapter  XL 
a.  Modjeska. 

h.  Venetian  or  Enticement. 
c.  Olivette. 

Exercises  in  Chapter  XII. 
a.  Waltz  from  Olivette. 
h.  Minuet  from  Don  Giovanni.     Mozart. 
c.  Yankee  Doodle.     {March  time.) 


Piano    Selections  193 

Chorography  Work.     {Accented  time.) 
a.  Trip  to  Africa,  Waltz. 
h.  Pirates  of  Penzance,  Waltz.     Sullivan. 
G.  Gondoliers.     Sullivan. 

d.  Where  the  Wild  Rose.     Strauss. 

e.  Tycoon. 

f.  Sweetheart. 

g.  Robin  Hood  Waltz. 

Esthetic  Music.     (  Very  slow), 
a.  A  Night  in  June.      Wilson, 
h.  Shepherd  Boy.      Wilson. 

c.  Rippling  Waves.     Sjpindler. 

d.  Moonlight  Sonata  (Ist  movement).     Beethoven. 

e.  Songs  without  Words.     (No.  I.)     Mendelssohn. 

f.  3rd  Nocturne.     Leyhach. 

g.  Fantasie  Impromptu.     (Largo.)     Chopin, 
h.  Thine  Own.     Lange. 

i.  Pure  As  Snow.     Lange. 

j.  Impromptu  3.     Op.  90.     Schuhert. 

k.  Moment  Musical.     Op.  7,  No.  2.     Moszkowski. 


GESTURE  AND  PANTOMIME. 


Look. 


Rest. 


Attention. 


DESK    ^V\^ORK. 

(iii) 


Arch. 


Hall-arcli. 
(V) 


Dislike. 


Diffidence. 


(vii) 


Grief. 


Attention. 


Silence. 


# 

. 

M 

1 

^^ 

^1 

,^ 

^^K 

Pride. 


(ix) 


Thought. 


Appeal, 
(xi) 


Pain. 


Pain. 


SUaun 


(xiii) 


Prai  Li-. 


HE 


M 


INUET 


■  How  sbe  held  her  pretty  head. 
How  her  dainty  skli-t  she  spread. 
How  she  turned  her  little  toes— 
Smiling,  little  human  rose  ! 
Long  ago." 
(XV) 


PANTOMIME. 


Give  me  no  more  of  body  than  shows  soul." — Browning. 


(xix) 


vw 


'"fflV'.-'l'    >:-f'^' 


4 


€*V 


(xxi) 


%■ 


Stand  up  like  me— and  look  manly  iuui  uiavc-  wun  ;t  wjiuieily  bearing.' 
(xxiii) 


'  Bade  little  robin,  pray  hear  wbat  I  say.' 
(xxv) 


'Robin  !   Robin  !   I  bid  you  '  Good  day.' 
(xxvii) 


A  Sad  Tale 


•  Who's  afraid  of  a  cat  v "  said  he  ; 

•  Tm  not  afrlad  of  a  cat." 

ne  was  a  bird  who  sat  on  a  rail 
With  Ave  other  birds,  and  tUs  was  his  tale : 
I'm  not  afraid  of  a  cat.'' 
(xxix) 


Ten  Years  Old 


'•I  mwisuLrid  my  sell  i>.\  Uil-  wall  In  the  garden. 
The  hollyhocks  blossomed  far  over  my  head.' 


'I  shall  wear  a  whlu-  gowu  all  euibruidered  wiili  slher, 
That  trails  In  the  grass  with  a  rustle  and  shine." 


M'^^MHtk-i'^i^:  ;if  i';*i 


•  And  meeting  some  child  here  at  play  In  the  garden,       "  She  will  smile  In  my  face  as  I  stoop  low  to  kiss  her,    j 
With  gi'aclous  hands  laid  on  her  head  I  will  say."  And  hark  !  they  ai'e  calling  me  in  to  my  tea." 

(xxxi) 


Green  Apples 


J 

1 

•1  saw  liim  give  a  push." 


'■'U  '  'i.  iii.\  Iiifiiil>  ;■— Ik'iv  lit'  Kii^<^  ii  I'upi 
Ml    I-  desk  like  a  regular  thunder  Clap." 


'I  vow  !   I  believe  the  old  parson  was  right !" 
(xxxiil) 


"  For  the  youth  there's  love  Just  streaked  with  red. 
And  )ir1?lit  joys  hanging  right  over  his  head." 


■ — 

J 

f' 

^^ 

^ 

1 

! 
1 

1 
1 

"  But  say,  Bob,  this  is  a  green  one." 


(xxxv) 


•  Is  yours  as  bitter  ?    Give  us  a  bite."  ^ 


Letting  the  Old  Cat  Die 


'  But  the  loveliest  thins:  ot  all,  I  thought, 
Was  the  gleam  of  her  laughing  ej-e." 


Go  'way,  go  'way  !  don't  touch  me,  please, 
I'm  letting  the  old  cat  die." 


"  Then  swinging  and  swinging  and  looking  hack, 
With  the  merriest  look  In  her  eye. 
She  bade  me  '  Good-bye,'  and  I  left  her  alone, 
'  Letting  the  old  cat  die.' " 
(xxxvii) 


Kesl  pohlllou. 
(xxxix) 


'My  luiFiuH  were  botii  idio  wufu  you  ciicu  aioiie.  "Dost  thou  Irora  thy  Heavens  on  such  visions  lean?' 


■  A  distant  sail  !" 


(xli) 


"  That  vre  with  staring,  Ignorant  eyes." 


"  Away,  and  mock  the  time  with  fairest  show, 
(xliii) 


•  I  hold  my  bands  to  you  to  show  tliey  stUl  are  tree. 


'  Then  conquer  we  must."  "  I  drink  to  thee— ma  belle  ! " 

(xlv) 


'  It  Is  in  vain,  sir,  to  extenuate  the  matter. "  "  Were  they  not  forced  with  those  that  should  he  ours  ? ' 


Brag, 
(xlvii) 


What  makes  the  doggie's  nose  so  cold  ?" 


Well,  years  and  years  and  years  ago.' 


'  And  that  Is  why,  sweet  locks  of  gold. 
The  doggie's  nose  Is  always  cold." 
(xlix) 


The  Foolish  Little  Maiden 


•'  A  foolish  little  maiden  had  a  foolish  little  bonnet. 
With  a  rlbhon  and  a  feather  and  a  bit  of  lace  upon  It.' 
(H) 


Now  altbough  this  little  bonnet  was  scarce  larger  than  a  dime, 
(liii) 


And  wlien  It  was  fairly  tied  all  the  bells  had  stopped  their  ringing." 
(Iv) 


"  And  when  she  got  to  meeting  sure  enough  the  folks  were  singing." 
(Ivii) 


She  smootlied  her  mffles  out  behind, 
(lix) 


■  And  smoothed  lliein  down  before.' 
(Ixi) 


• '  Hallelujah  !  Hallelujah  ! '  sang  the  choli-  above  her  head ; 
'  Hardly  knew  you  !  Hardly  knew  you  ! '  were  the  words  she  thought  they  salcL 
This  made  the  little  maiden  leel  so  very,  very  cross. 
That  she  gave  her  mouth  a  little  twist  and  her  little  head  a  toss." 

(Ixiu) 


'  So  she  did  not  stop  to  listen  to  the  sermon  or  the  prayers, 
But  pattered  down  the  silent  street  and  hurried  up  the  stairs,' 
(Ixv) 


•  Till  she  reached  her  little  bureau,  and  In  a  bandbox  on  It 
Had  hidden  safe  Irom  critic's  eye  her  foolish  little  bonnet." 
(Ixvii) 


Wlilcli  proves,  my  little  maidens,  that  each  ol  you  wnll  And 
In  every  Sunday  service  but  an  echo  of  your  mind. 
And  the  little  head  that's  filled  with  silly  little  airs 
Will  never  get  a  blessing  from  sermons  or  from  prayers." 
(Ixix) 


Oft  in  the  stilly  night." 


■i; 


■  For  I'm  to  be  Queen  ol  the  May,  mother." 


(Ixxi) 


On  with  the  dance.' 


"  The  Old  Folks  at  Home  " 


•  Way  down  upon  the  Suwanee  rlbber," 
(Ixziii) 


Far.  far  away ; 
(Ixxv) 


Uere's  where  my  heart  Is  turning  ebber, 
Dere's  where  de  old  folks  stay." 
(Ixxvii) 


"  All  de  world  am  sad  and  dreary, 
Eb'ry  wliere  I  roam ;" 
(Ixxix) 


f" 

■Hir  ^Wtjy 

^^^^^H^H^^^fk^^jK 

l-i 

^^^^B'              .^ 

'  oil  darkles  how  iiij-  heart  beats  weary, 
Far  from  de  old  folks  at  home." 
(Ixxxi) 


One  little  hut  among  de  bushes," 
(Ixxxiii) 


One  dat  I  love,' 
(Ixxxv) 


•  still  sadly  to  my  memory  rushes, 
No  matter  wliere  I  rove." 
(Ixxxvii) 


Wlien  will  I  see  de  bees  a  bumming, 
All  round  de  comb  ? " 
(Ixxxix) 


When  Avlll  I  hear  de  loan  jo  tumming, 
Down  In  my  good  old  home? " 
(xci) 


"  Good  night.' 
(xciii) 


tMl 


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